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This monograph appeared originally in the fourth 
number of The Fleuron^ and is here reprinted with 
a few alterations. 

The list that follows the text comprises practically 
all the books designed by Mr. Rogers during the past 
thirty years which either possess literary value or are 
of special interest because of the manner of presenta- 
tion. This latter consideration admits several items 
which can hardly be called books; but they may be of 
value to other students and practitioners of printing 
by reason of the typographical problems involved. 

It has been difficult to determine the question of 
entire responsibility for many items; asterisks prefixed 
to the serial numbers indicate those books in which 
he has had the largest freedom and which have been 
made under his immediate direction. 

The chronological arrangement of this hand-list 
and the abbreviated form of many of the titles will 
hardly commend it to bibliographers, but the consecu- 
tive numbering and the index at the end will, it is 
hoped, sufficiently take the place of an alphabetical 


NEARLY a decade has passed since Mr. Bruce 
Rogers last visited England, his position 
among the foremost living typographers already 
established within the circle of those who talk 
about printing. In the intervening years the com- 
ing of peace has widened this circle with extra- 
ordinary rapidity. Men*s thoughts, tired of the 
clumsy businesses of death, have turned grate- 
fully to those forms of Art where minute differ- 
ences, fine details, may be handled with precision 
and made to seem important. None of the arts is 
more concerned with minutiae than is book de- 
sign. From the proportionate weight of the small- 
est type-face to the plan of the binding, there is no 
least detail which can be altered without alter- 
ing the colour and feeling of the whole work; and 
typographic criticism, especially of the more spec- 
ulative kind, is at its best and most fruitful upon 
some apparently microscopic point. Whether or 
not this fact may explain the growth of post-war 
interest in the study and collection of fine typog- 
raphy, the truth remains that general interest 


was never more lively, students never more ad- 
mirably intent on present-day work. Collectors, 
newly started on the hazardous task of selecting 
modern examples, are learning to back their own 
judgment; but at first they find it best, like all 
other cautious connoisseurs, to *play safe with the 

Mr. Rogers, therefore, finds himself premature- 
ly an old master, with a larger number of admirers 
than has followed a book designer, as such, for a 
long time. What fame he had before the war has 
increased with the number of the instructed; what 
influence his methods have had upon contempo- 
raries — and it has been sharply traceable — has 
become far more important now that there are 
so many more printers aspiring to the level of 
his work. 

Those who have played the largest part in mak- 
ing the thistle mark and the imprint 'BR* promi- 
nent in auction rooms and sales catalogues are 
amateurs of two kinds. There is the student of ty- 
pography, who has found that each volume thus 
marked offers legitimate yet audacious points of 
comparison with some historical manner of print- 
ing, thus subtly challenging his learning and his 
taste. And there is the bibliophile, who finds the 
same fascination in a collection of Rogers im- 
prints that he would find in the company of some- 


one who could play faultlessly upon fifteen instru- 
ments; it is this type of admirer who dwells upon 
the range of style in the printer's work, as if his 
versatility were almost a freak of nature rather 
than the normal working of a mind nicely bal- 
anced between sympathy and intolerance. 

Numerically this latter class makes up a large 
proportion of Mr. Rogers's public, so we are not 
surprised to find his reputation resting in the main 
upon certain books which have become classics in 
the sort of typography we call * allusive, ' in that 
the design alludes to, or even quotes from, some 
historic style. Given a piece of literature, prefer- 
ably dating from a past age, the object of the 
graceful game is to create for it the most appro- 
priate possible setting without falling into any 
archaisms which would distract the reader. Of 
such are most of the Riverside Press Editions de- 
signed by Mr. Rogers, as well as many of the more 
elaborate limited editions that he has produced 
since their time. In fact, the sort of book which he 
has been asked to print has been, in almost every 
case where great pains could be taken with the 
production, one where a certain powdering of an- 
tiquity was plainly called for. Given a book on 
Franklin and his Press at Passy^ the designer can 
only accept one historical manner of type ar- 
rangement and set himself to surpass his models 


in adroitness, if the book is to have any distinc- 
tion beyond that of sound craftsmanship. To give 
it a dress which Franklin would have thought un- 
pleasant or strange would be officious. 

But to take Mr. Rogers purely on the valuation 
of the student and amateur is to rate him as little 
more than a designer of historical costumes for 
books, and to ignore the twofold contribution 
which he has made to fine modern book-making. 
Certain qualities of his work are important to the 
practising printer quite apart from any supposed 
relation between an author and a type-face. 
There is a third class of ' B R * collectors, the men 
who are concerned in the possible evolution of a 
modern style through their own efforts. Such 
persons will want to own the Grolier Club Pierrot 
of the Minute y because they alone, from practical 
knowledge of the craft, can appreciate the me- 
chanical deftness of the work. If they cannot ex- 
plain the casual felicity of the whole book, they 
can at least single out each evidence of technical 
mastery. In a time of impetuous and not over- 
meticulous artisanship the mere sight of such a 
piece of work has an effect at once humbling and 
provocative to those who are capable of analysing 
its merits. Unfortunately, the Pierrot is found only 
on the shelves of three hundred bibliophiles who 
subscribed for it. However few are the printers 

who affect in any way the general level of typo- 
graphic style, few of these few have been able to 
examine this book in detail. Hence such museum- 
pieces are of less direct importance than they 
otherwise would be. 

There has been, however, a new direction in Mr. 
Rogers's work in the last few years which has 
given his contemporaries at least a hint toward a 
novel and individual manner. He has been con- 
ducting experiments, quite as often upon trade 
editions as on limited reprints; experiments whose 
object, quite apart from any * period* considera- 
tions, is to produce new effects from new combina- 
tions of actual working material that any printer 
may possess. The importance of these essays, and 
the probable direction of Mr. Rogers's future de- 
velopment, may be more clearly gauged after an 
examination of his past interests and work. 

Those who know him find that his creative curi- 
osity — what may be called his manual wit in at- 
tacking technical problems — is not confined to 
the making of books and broadsides. The same 
ingenuity distinguishes his ex-libris^ which are so 
little known, the tooled bindings on which he ex- 
periments, and, perhaps most characteristically, 
an occasional ship -model which he builds and 
rigs with scrupulous cunning. This nimbleness of 
hand and judgment is, indeed, common to artifi- 


cers of all times and countries. Perhaps the only- 
trait in Mr. Rogers which can be called definitely 
national is that twist of American temperament 
which is somewhat inconveniently termed hu- 
mour. If this dry and restless mockery be spelled 
'humor* in its native fashion, there may be less 
danger of confusing it with the more complacent 
European variety. It is a sort of critical whimsy: 
there is little cheer in it and no cheerio, but 
there is instead a robust and sardonic inven- 
tiveness which will always freshen and goad on 
the creative worker. It is at its salt-and-bitterest 
in New England; but in transit to the Middle 
West it has become mellower, the scepticism com- 
bines with a certain sympathy, and the combi- 
nation may produce a Mark Twain or a Booth 
Tarkington. Especially, in that section, does the 
state of Indiana seem to have a stimulating men- 
tal climate. In any group of American great or 
well-known will be found an amazing, an incredi- 
ble proportion of Indiana-born. Mr. Rogers quali- 
fied for this distinction in the village of Linn- 
wood, which is now a part of the city of Lafayette. 
Some of his ancestors had come overland as pio- 
neers from Virginia in the hazardous days of the 
Conestoga wagon; they were sportsmen and wild- 
erness-breakers, and, like their descendant, they 
had no great aflFection for cities and no particular 

enthusiasm for continuous social contact with 
their fellow-men. From his father Mr. Rogers had 
learned to develop an inherited talent for drawing 
and penmanship, so that when he entered Purdue 
University at sixteen, he was prepared to make 
the most of advanced courses in draughting and 
decorative design. He decided to become an illus- 
trator, and in order to gain experience, he worked 
on the staff of several undergraduate pubhcations. 
Even at that time the arrangement of type on 
paper was of strong interest to him. He tells of 
bringing home from the library several volumes of 
the works of the earliest and most interminable 
American novelist, Charles Brockden Brown, 
simply because the printing and binding of that 
particular edition seemed so pleasant to him. He 
would open and handle the books, turning the 
crisp leaves; had the text been less turgid, he 
might even have read it, as a final tribute to typo- 
graphic merit. 

In the year of his graduation, 1890, plans were 
already being made in England for the establish- 
ment of the Kelmscott Press. William Morris, a 
giant with a plough, was turning up fresh soil 
under the dry technicalities of printing. All defini- 
tions had to be reconsidered, and what is more 
important, reworded in such simple and vigorous 
terms that the general public found itself able to 


argue about the essentials of good printing and to 
use this new vocabulary to rebuke feeble work. 
When the young Rogers became an illustrator on 
the Indianapolis News he had heard nothing of 
this subversive movement, but he had realised, 
however, that illustration was interesting to him 
only as a means of beautifying books. The rapid- 
fire sketching demanded in newspaper work was 
distasteful to him, and after a season of it he re- 
signed and went back to Lafayette, to spend some 
time in landscape painting. This avocation was to 
provide him throughout his life with a record of 
the various outdoor aspects of countries where 
he has lived, and in his paintings he has put down 
for his own delight the contours of hills and sea- 
shore, where he feels most at home. 

Upon his return to Indianapolis as a general 
draughtsman, he made the acquaintance of Mr. 
J. M. Bowles, the founder of a quarterly. Modern 
Arty which was one of the first American reflec- 
tions of the new Arts and Crafts movement. Mr. 
Bowles had some of the Kelmscott books and 
showed them to Mr. Rogers, to whom they came 
as a revelation. He has said that upon seeing 
Morris's printing, his whole interest in book-pro- 
duction became rationalised and intensified. He 
abandoned the prevalent idea that a book could 
be made beautiful through the work of an illus- 

trator alone, and determined instead to use that 
curiosity he had always felt as to type and paper, 
toward a study of the physical form of printed 
books. Naturally anything which could so thor- 
oughly satisfy his eyes as Poems by the Way would 
have an effect, however transitory, on his efforts. 
While still in college he had lettered one or two 
title-pages for Thomas B. Mosher, and in 1 895 the 
name * Bruce Rogers' appears for the first time in 
a colophon, as designer of a few insignificant deco- 
rations for one of Mr. Mosher's publications — 
A. E.'s Homeward Songs by the Way. A better op- 
portunity to express his new opinions came when 
Mr. Bowles undertook the production of R. B. 
Gruelle's Notes on the Walters Collection. In this 
catalogue, also published in 1895, in addition to 
designing the title-page, initials and chapter head- 
ings, he had a hand in proportioning the page 
and margins. Set in that bold and humourless 
type known as * Bookman,' the page preserves its 
* unity' (the word was a battle-cry) in the deco- 
rations, which were stolid in themselves, but bold 
and simple enough to support the colour of the 

Modern Art gained popularity and lost money 
until it was subsidised by a wealthy firm of * art 
publishers,' L. Prang and Company, of Boston, 
who in 1895 persuaded Mr. Bowles to edit the 


quarterly in that city. Mr. Rogers, who had been a 
contributor from the first, followed not long after. 
His work in Boston was divided between designs 
for the magazine and private commissions, with 
considerable time left free to investigate the ways 
of printers and publishers with whom he came in 
contact. He could hardly have adventured in a 
more favourable time or place than in that lively 
and curious city. Mr. Updike's Merrymount Press 
was beginning to attract wide attention for the 
quality of its work, several other printing houses 
were eagerly testing the new theories, and across 
the river at Cambridge the Riverside Press en- 
joyed a well-merited reputation for the production 
of trade editions, due mainly to the sound prac- 
tice and high standards of its founder, Henry O. 
Houghton. Not long after the latter's death, Mr. 
Rogers became acquainted with Mr. George H. 
Mifflin, Houghton's junior partner and successor, 
who was anxious to build in the new manner over 
the foundation of fine workmanship which the 
Press already had. In the young designer he found 
a fellow-enthusiast whose ideals in some degree 
corresponded to his own. So Mr. Rogers joined 
the Riverside Press, where for the next four years 
he was occupied with the production of trade 
editions as well as with the design of the book- 
advertisements which appeared in the Atlantic 


Monthly, It was, under Mr. Mifflin's encouraging 
guidance, a most valuable education in the me- 
chanics and technique of book printing. 

In 190O5 a special department for the pro- 
duction of fine limited editions was created and 
placed under Mr. Rogers's supervision. Every re- 
source of the institution was put at the disposal of 
this department, which was promised sufficient 
funds for a multitude of experiments in the nu- 
ances of typography. With this incentive, one 
which is sufficiently rare among commercial en- 
terprises, he went confidently to work. The first of 
the series known as the Riverside Press Editions 
was T!he Sonnets and Madrigals of Michelangelo^ 
published in 1900. The book shows how well its 
designer had profited by his period of training: 
it is a piece of discreetly gay printing in Caslon 
italic; the design of the book speaks from the gen- 
eral period of time which gave us the sonnets, 
not loudly or affectedly, but tactfully, as a good 
chairman setting the audience in the right humour 
for the principal speaker. 

The next four years of the new Houghton- 
Mifflin department were crowded with activity. 
Before the end of 1903 no fewer than nineteen 
books had appeared, each subject having been 
expressly chosen to * allow of an individual style 
of typographic treatment.' Allusive typography 


in its more brilliant and subtle forms was, after 
all, a new thing then. One suspects Mr. Updike, 
if not of having invented it, at least of having 
found it in the nursery and left it in the drawing- 
room. There can be no doubt of the influence of 
the Merrymount Press and its brilliant director 
upon Mr. Rogers, not only during the nineties 
while Mr. Updike was engaged in his more daring 
experiments, but also later, while he was issuing 
as a publisher his Humanists' Library for much 
the same type of reader as that which supported 
the special book-making at the Riverside Press. 
The advice and encouragement that Mr. Updike 
always offers to the student were particularly val- 
ued by his new friend in Cambridge. 

The Riverside Press Editions probably owed 
their immediate and remarkable effect on a sec- 
tion of the reading public to the policy of 'indi- 
vidual treatment' mentioned above. Book-lovers, 
their tastes stimulated by the founders of semi- 
private presses in England, had begun to weary of 
the succession of vellum-bound quartos in one 
home-made type which seemed to be the usual 
product of those presses. These new editions did 
not form a *set,' or even, through any physical 
similarity, a series. It was partly the unexpected- 
ness of each new format that from the very first 
exhausted many of the editions before the date of 


publication. The work of the Department of Spe- 
cial Book-making has been reviewed by several 
hands in considerable detail. Mr. Alfred W. Pol- 
lard in particular has given us so discriminating 
an account of this period in the designer's activ- 
ity that later comment, except for the purpose 
of summary, is hardly necessary. Several items 
should be mentioned here as being of special im- 
portance. The second book to appear in 1900 was 
the Rubdiydt of Omar Khayyam^ a work which, 
like Aucassin and Nicolettey had been issued from 
nearly every private press that took itself seri- 
ously. This particular edition marks the first use 
after many years of the * Brimmer * type, a transi- 
tional face of great vigour (listed oh the records of 
the Bruce Type Foundry as a private face, cut at 
an unknown date by one Simpson), an obsolete 
fount of which Mr. Rogers had discovered in the 
obscurity of the composing room at Riverside. 
The American Type Founders were commissioned 
to make new matrices and cast the type specially 
for the Press, and to cut special swash capitals 
for the italic after Mr. Rogers's design. Brimmer 
was used in at least one book a year during the 
time that Mr. Rogers was at Cambridge. 

But the Press was not devoting itself entirely to 
the production of slender octavos. The project of 
printing the Essays of Montaigne in three folio 


volumes had been considered from the first, and in 
view of the imposing scale of the work it was de- 
cided to have a special type cut for it which would 
have boldness and distinction in as large a size 
as sixteen-point. Mr. Rogers went back, in the 
healthy fashion of the time, to the Jenson letter 
and drew from it a design eminently fitted to its 
purpose. Montaigne type has been used (not by 
Mr. Rogers) upon coated paper, which makes it 
look pedantic and uninteresting; properly inked 
and printed, it is both graceful and dignified. 
A trial fount was used in 1902 to print Sir 
Walter Raleigh's account of 'The Last Fight of the 
Revenge at Sea. This was the first Riverside book 
printed on a hand-press; it should, however, be 
noted that the old Adams platen presses used 
for printing many of the other volumes approxi- 
mated the motion and results of the hand-press. 
A woodcut after Howard Pyle on the title-page 
of the Raleigh showed for the first time the work 
of an illustrator coming to the aid of the typogra- 
pher; in this case the vigorous renaissance wood- 
cut border which surrounds it, and the massed 
weight of the Montaigne type on the text page 
support it effectively. But in the edition of Spen- 
ser's Prothalamion and Epithalamiony printed in 
the same year, the book is only weakened by the 
reproduction in photogravure of the vignettes 


and illustrations designed by the mural painter, 
Mr. Edwin H. Blashfield. 

Experiments were continued with the Mon- 
taigne fount until the last volume of the Essays 
had been set in 1904. He was not entirely pleased 
with the face as it appeared, even after many alter- 
ations. In a way, the punch-cutter had done his 
work too well; Mr. Rogers decided that there had 
been too much ' improvement ' over the original, 
and he resolved to return to Jenson at some later 
time for a more direct inspiration. Meanwhile the 
Montaigne was used in an edition of Boccaccio's 
Life ofDante^ a simple and stately book, and later 
on, in 1908, appeared in the duodecimo Banquet oi 
Plato. In spite of the fact that the type was cut 
for use on a large page, its use in the short lines 
and small pages of the latter book is unexpectedly 
pleasing. The book cannot, perhaps, be read as 
fast as if the line were longer or the type smaller; 
but to put this forward as an objection is to 
imply that the reader is capable of following 
Plato's reasoning as swiftly as his eyes can skim 
the line. Its value in this particular edition lies 
not in the fact that it can be read rapidly, but 
in the fact that it presents the text in a manner 
just sufficiently unusual and impressive to com- 
mand and direct attention. It is used here with- 
out decoration. 


The first book done at Riverside in black-letter 
was 'The History of Oliver and Arthur (1903), in 
which Priory Text, and woodcuts reproduced in 
facsimile from an early edition, combine to give a 
studiously historic appearance to the work. Far 
more sprightly is the use of a French lettre batarde 
in Chaucer's Parlement of FouleSy which appeared 
soon after, and in The Song of Roland (1906), 
which is now one of the most sought-for of all the 
Riverside Press Editions. In this last book the 
decorations were printed from line blocks and col- 
oured by hand in imitation of a series of stained- 
glass roundels in the Cathedral of Chartres — 
a touch of romanticism which pleases the collec- 
tor as much as do the marginal notes, which are 
printed in civilite and look surprisingly like the 
faded holograph comments of some sixteenth-cen- 
tury owner. These three books constitute the only 
Riverside experiments in mediaevalism, and none 
can be said to be as grateful to the eyes as the 
three books in the classic style which were also 
appearing during this time. These latter were set 
in Brimmer, the first and third being in italic. The 
second one, Plutarch's Consolatorie Letter or Dis- 
course^ has for its only decoration a photogravure, 
on the title-page, of an Attic stele. The Georgics of 
Virgil and the Idylls of Theocritus are accom- 
panied by wood-engravings by Mr. M. Lamont 

Brown, some after drawings by Mr. Rogers and 
some after antique gems and seals. In the Theo- 
critus the decorations combine happily with the 
type. Mr. Rogers's own leanings toward the art- 
forms of ancient Greece have always given warmth 
and sympathy to his essays in the classic manner; 
indeed, it may be possible that his understanding 
of renaissance typography is due to the fact that 
he, too, is prepossessed with pagan culture. 

The year 1909, while not as productive as 
earlier years, was marked by the appearance of 
two noteworthy books, one presenting the most 
difficult of tasks, and the other, in appearance at 
least, of the most candid simplicity. The first was 
Mr. G. B. Ives's translation of Bernard's Geofroy 
'Tory^ in which many examples of Tory's work had 
to be shown. In order to do justice to the original 
woodcuts, each one was photographed and re- 
touched by Mr. Rogers with exquisite care, to 
eliminate the faults of over-inking, poor press- 
work, or damage to the block that were present in 
the original impression. Borders thus restored to 
the state in which Tory would have wished them 
to appear could no longer be used in conjunction 
with the undistinguished and over-inked roman 
types which they had originally surrounded, so, 
as a courageous move, it was decided to print the 
actual text of the book inside the borders when- 

ever they occurred. Thus the question of an ap- 
propriate type became paramount. As a result 
came Riverside Caslon, a type which Mr. Rogers 
remodelled from four teen-point foundry lower- 
case Caslon and twelve-point capitals, to suit his 
needs. An extraordinary amount of ingenuity 
with a graver went into the actual remodelling of 
each character in the fount; the original types 
were made richer in colour by rubbing down the 
printing surfaces, they were made to set closer to- 
gether, and after innumerable experiments the re- 
sulting characters were employed to make elec- 
trotyped matrices. The matrices, in turn, were 
fitted to a monotype casting machine, sorts were 
produced at the Press, and the book was set by 
hand. The result is curiously unlike Caslon, and in 
the close setting and general weight a most sat- 
isfactory approximation of the types of Tory*s 
time. The other book that appeared in this year is 
T^he Compleat Angler^ in which this compact type 
again is used. Few sextodecimos are more atmable 
than this, one of Mr. Rogers's favourite books. 

Tory's woodcut borders (not yet staled by cus- 
tom) were never more gracefully used than in the 
EcclesiasteSy printed in 191 1, a book in which Mr. 
Rogers heroically restrained himself from adding 
to the sum of famous biblical misprints. The 
temptation to make the copy read 'of the making 

of many books there is an end' is understandable 
when we realize that this was the last of those fifty- 
editions which, printed under such happy circum- 
stances, will always be his most imposing monu- 
ment. The Houghton Mifflin Company had by 
this time somewhat altered its policy of leisurely 
idealism, and Mr. Rogers on his part had begun 
to hope for a more independent career. Business 
relations were, therefore, ended in 191 2, and Mr. 
Rogers spent a summer in travel abroad, writing, 
on the passage over, a brief review of the work of 
some American printers — including his own — for 
the printing number of the London 'Times ^ and 
again visiting Mr. Emery Walker. 

Upon returning to America, Mr. Rogers became 
a free lance in his profession. *rd like to be a tramp 
printer,' he said; and indeed those who know him 
and his love of the open country understand the 
project, which he still cherishes, of going into rural 
retreat at some converted mill, with only a few 
types, a portable press, and a sketching-pad. At 
that time, however, the ears of publishers were not 
yet tuned to the golden clink of fine printing, and 
commissions were few. He went to New York and 
maintained himself there for three grey years by 
commercial work. Of the four signed books which 
belong to this period, two were commissioned by 
societies of wealthy book-lovers, one by a mu- 


seum, and the fourth was privately printed for an 
amateur. As a result, the printing has that pre- 
cious and antiquarian look that so well pleases the 
cultured subscriber to editions, who likes to recog- 
nize and beam upon an adroit historical manner- 
ism. Franklin and his Press at Passy (New York, 
The Grolier Club, 1914) has been taken as one of 
the finest examples we have of reminiscent print- 
ing. There is no trickery in it, — Mr. Rogers has 
never * faked' an effect with battered type and a 
heavy impression, — yet the simple embellish- 
ments which he drew and the Brimmer and Ox- 
ford types which are so appropriate for the time 
in which Franklin moved, both take every pos- 
sible advantage of history. 

Even before 191 4, the Metropolitan Museum 
of Art in New York City had begun, under the 
direction of Mr. H. W. Kent, its Secretary, a 
series of experiments which were to associate it 
very intimately with the progress of American 
typography. Mr. Kent's Museum Press is the 
despair of collectors; for though its output of 
broadsides, memorials, and greetings is constant 
and of superlative quality, the number of impres- 
sions of each item ranges from two or three to a 
very few. Even beyond his own work, however, 
Mr. Kent's influence upon contemporary taste in 
his country has been noteworthy, for as President 

of the Grolier Club and a factor in other societes 
d' encouragement he has been in a position to sup- 
port his keen judgement with substantial com- 
missions. Mr. Rogers had already been associated 
with the Museum's new activity; in 191 2 he de- 
signed for it Les Points de France^ a book on laces, 
and during the next year he produced, in asso- 
ciation with Mr. Kent, several monumental testi- 
monials and posters. Meanwhile Mr. Rogers's sec- 
ond thought about Jenson's type had reached the 
point of completion on paper, and the design was 
ready to be cut. Mr. Kent, upon seeing it, hailed it 
as a masterpiece; the Museum purchased the right 
to use the capital letters, had them cut in several 
sizes, and has ever since reserved this famous type 
for the occasional works where it may be shown to 
perfect advantage. An effective use of this letter, 
* Centaur,' is in the case labels, some of which are 
printed in gold upon black, for the Museum's 
collection of armour. 

Meanwhile the international fame of the Riv- 
erside books was still increasing. In 1915 Mr. Pol- 
lard read before the Bibliographical Society an 
estimate of Mr. Rogers's work.^ It was the first 

I. The Work of Bruce Rogers y Printer, by Alfred W. Pollard. 
A Paper read before the Bibliographical Society, October 1 8, 191 5. 
Summary printed in the Society's 'News-Sheet/ London, Novem- 
ber, 191 5. Printed (somewhat abridged) in the Society's 'Trans- 
actions,* London, 191 9. Separate pamphlet reprinted from the 
'Transactions,* by Blades, East & Blades, London, 191 9. 


time that a living printer had been thus honoured, 
and the praise, coming from so high an authority, 
had considerable effect on Athenians abroad and 
in the United States who had not before heard of 
this new thing. In June, 191 6, an exhibition of 
Mr. Rogers's books, arranged by Mr. John Cot- 
ton Dana at the Newark (New Jersey) Public 
Library, brought together for the first time prac- 
tically all the books and most of the broadsides 
which he had designed at Cambridge and else- 
where. The Carteret Club of that city simultane- 
ously issued a catalogue, with an earlier essay of 
Mr. Pollard's on Modern Fine Printing in England 
and Mr, Bruce Rogers, 

The year 191 5 had brought more opportunity. 
He produced An Account of Strawberry Hill Cata- 
logues for Mr. Percival Merritt, as well as a me- 
morial of Luther S. Livingston, At that time Mr. 
Carl P. Rollins, now Printer to Yale University, 
was conducting his lively and distinguished Mon- 
tague Press at the Dyke Mill in the village of 
Montague, Massachusetts. In spite of the rustic 
scenery around the Dyke Mill, this was a com- 
mercial and not a private press. Its owner, how- 
ever, could and did offer Mr. Rogers a chance to 
collaborate with him in typographic experiments 
of the most idealistic kind. 

One result of Mr. Rogers's visit to Montague 

was the book which gave its name to his new 
type: T^he Centaur^ by Maurice de Guerin, trans- 
lated by Mr. Ives. One hundred and thirty-five 
copies were printed, of which some sixty were 
presented by the printer to friends. The first use 
of the Centaur type in book work was a revela- 
tion of the possibilities of the design. It was 
produced by drawing or writing over enlarged 
photographs of the Jenson roman; but to say 
only this would be to mislead the reader, un- 
less he is aware of the infinite discretion and 
observation needed for such a task. Mr. Rogers 
realized that the photographic enlargements of 
the old type face must be neither oversize nor un- 
dersize in proportion to the actual size of the type, 
because the eflFect of his drawing of the letters 
would show in the final form either over-model- 
ling on too large a scale or perhaps under-model- 
ling on too small a scale. The recutting of an old 
type face from the printed form of the letter re- 
quires the utmost pains and care in order to avoid 
a tawdry result. The surplus of ink that had 
accumulated on the type must be considered, 
the probable wear on the printing surfaces by 
previous printings must be calculated, the amount 
of impression used in printing the type must be 
observed, and whether the paper was too wet or 
too dry; withal, what effect one or all of these 


factors have had upon the true outline of the 
characters. All or any of these may conspire to de- 
flect the intended result. To see even beyond these 
accidents into the essential consistency of the 
face and find in it warrant to change minor de- 
tails (such as eliminating the inner ' slab * serifs of 
the capital M) is work requiring almost clairvoy- 
ant ability. In the fourteen-point size of Centaur, 
several letters have been revised even up to the 
present time. The curve and end of the tail of the 
lower-case 'y' have been altered; the lower-case 
*e' with a horizontal stroke, forming the lower 
part of the eye, has been added as an alternate 
letter with the other 'e' with the oblique stroke. 
In the present use of Centaur, diamond-shaped 
points (periods, semicolons, colons, etc.) have 
been substituted for the round ones. The designer 
or punch-cutter must not aim, however, to per- 
fect the outline in every way. The Montaigne 
type, perhaps because it was cut only in a large 
size, errs in this direction. Centaur, especially 
in the fourteen-point size used in The Centaury 
looks almost diffident after the bold strict curves 
of the Doves or Distel romans, but it is for that 
reason of greater charm to the reader. Used 
as it was in that book, with a renaissance head- 
band and initial redrawn in precisely the right 
colour, the effect was beyond praise. The book was 


accepted by many as the masterpiece of modern 

Upon his return to New York from Montague, 
Mr. Rogers became an occasional aid to the 
Museum Press. Among his friends abroad with 
whom he had corresponded regularly was Mr. 
Emery Walker, who had earlier withdrawn from 
partnership in the Doves Press, and now was 
considering founding a press of his own at Ham- 
mersmith. The ideals of the two men were so 
essentially ahke that it was natural for Mr. Wal- 
ker to invite his friend to share in the project, 
and for Mr. Rogers to look forward to work in 
the country which had always afforded him such 
a friendly welcome. It became known that he 
would sail for England at the end of 1916. The 
news was received somewhat ruefully by the 
group who had come to realize what an effect 
his work would have upon contemporary print- 
ing, now that it was being exhibited and re- 
produced in facsimile so frequently. The essential 
of American style, if there be any such style, is 
surely eclecticism: no local tradition, especially 
in type-usage, is strong enough to make the use 
of a 'foreign' type seem precious, or an ancient 
decoration seem uncouth. And now the chief 
prophet of eclecticism was to depart for a Caslon- 
ridden country, leaving the future of fine printing 


in America almost entirely in the capable hands 
of Mr. Updike. 

No less auspicious time could have been chosen 
for the establishment of the Mall Press than the 
early months of 191 7. Mr. Rogers's first book 
there was a commission from the Grolier Club to 
reprint a translation of that part of Albrecht 
Diirer's Geometricey which deals with the design of 
letters for inscriptions. The edition of 318 copies 
of Ow the Just Shaping of Letters was completed by 
August, under the most trying conditions. Almost 
from the beginning there were no trained work- 
men available. Though Mr. Rogers had only a 
theoretical knowledge of the actual operations of 
printing, the thoroughness of this knowledge now 
came to his aid. He made ready forms with his 
own hands, and put the sheets through the press. 
In spite of these difficulties and the additional 
trouble of printing three copies upon refractory 
vellum, the book is distinguished not only for its 
design and for the magnificently drawn Diirer- 
esque title-page, but for the admirable inking and 
impression which brings out the full beauty of the 
Centaur type. On the Just Shaping of Letters 
eventually brought such a fabulous price in the 
auction rooms that designers began, not unrea- 
sonably, to begrudge to the wealthy collector this 
series of noble letters. The practical ones have, 

however, been appeased with Mr. Rogers's later 
impression of 'T'he Construction of Roman Letters 
by Albrecht Durer (Dunster House, Cambridge, 
1924), in which the blocks alone are printed on a 
i6mo page of pale grey paper, which softens the 
blackness of the broad inked surfaces. 

The Diirer book was the only one printed by 
Mr. Rogers at the Mall Press. On its completion 
he was invited by the Syndics of the Cambridge 
University Press to assume the position of Print- 
ing Adviser to the Press under the direction of Mr. 
J. B. Peace, who was Printer to the University un- 
til his death in 1923. The work and the surround- 
ings proved congenial, and the next twenty-one 
months were occupied in quiet experimentation 
and research at Cambridge. During this time the 
Centaur fount, which had followed its designer 
abroad, was used only in small privately printed 
books and greetings, such as a quarto edition of 
Dr. M. R. James's Address before the Tipperary 
Club (1918), and Spare your Good (1919). The 
possible uses of printers' 'flowers,' or units of type 
ornament, some of which he had recut and occa- 
sionally employed at Riverside, again began to 
arouse his curiosity. Available material seemed 
too elaborate and refined, and he resorted to a 
simple expedient to re-create the bold, traditional 
arabesque forms which were evolved by type- 


founders before the end of the sixteenth century. 
A drawing of a complete arabesque pattern from 
an old book was photographically enlarged, and a 
line-cut made of the enlargement; from this cut 
several proofs were taken. In order to achieve that 
ingenious variety which is the never- failing inter- 
est of such forms, the printed proofs were cut up 
into their simplest component units, and these 
units were shifted and rearranged to form differ- 
ent patterns. When a particular combination had 
been invented, it was carefully pasted together, 
and from this was made the reduced zinc block 
which was to be employed in the actual printing. 
It was frankly a hurried makeshift, but the effect 
was happy, the combinations (best seen in the 
privately printed poem On Friendship y 191 8) were 
fresh and interesting, and the later result of the 
revival was, as we shall see, practically a new 
development in modern decorative printing. 

Another essay in designing was the result of a 
commission, from the Pelican Press in London, 
for a poster letter. Mr. Rogers drew a complete 
alphabet of roman capitals and lower-case letters 
and figures. These designs were rendered on wood, 
and not as carefully as one could wish; at that 
time, however, skilled mechanics were not avail- 
able for such work. To-day these letters are used 
frequently for posters which may be seen in al- 

most any London underground station, and it is 
hoped by those who have seen the original draw- 
ings that one day all the letters will be recut com- 

A new type-acquaintance was made in an old- 
style face which probably originated with Fry, 
and now is known as Georgian. This type was 
used in some of the minor pieces of printing, such 
as the i6mo edition of Address at Unveiling the 
Roll of Honour (Cambridge, 191 8) and A Collec- 
tion of Books about Cats (Cambridge, 191 8); and 
the care and attention given by Mr. Rogers to the 
spacing between words and leading between lines 
shows plainly what understanding of these mat- 
ters can accomplish. Of greater importance than 
these small items was the main work which he had 
to do : to modify and reform the typography of the 
University publications, to suggest standards of 
spacing and arrangement, to work out propor- 
tions of page and margin in books which could not 
possibly be seen through the presses with that 
scrupulous attention which every book receives 
that carries his mark. He had to arrange for the 
destruction of much old and bad type, and he had 
to search the ancient institution for material 
worthy of being revived. His work with trade edi- 
tions drew upon his practical ingenuities just as it 
had at the Riverside Press, and the stricter condi- 


tions of economical production may perhaps have 
proved a contrast and a spur after five years of 
creating limited numbers of perfect copies. Cam- 
bridge typography rose almost at once to a high 
level of excellence, which it maintains to-day. 
Only one or two of the present workmen knew 
him. The style of the books now printed there can 
hardly be attributed to the lingering influence of 
his preferences in spacing or the use of types. It 
was rather by creating an audience of discrimi- 
nating critics among those scholars whom such an 
institution serves that Mr. Rogers helped to give 
the Press its present standing, if not its present 

For nine months after the Armistice he con- 
tinued to work at Cambridge. Post-war depres- 
sion, however, delayed the programme of finely 
printed editions which had most interested him. 
His former associates in America, supported by 
the wave of prosperity which was then sweeping 
over the country, found themselves able to experi- 
ment, to spend money in realising cherished theo- 
ries; indeed, those designers who had fallen from 
respectable book-work into advertising were find- 
ing it difficult to spend enough money to mitigate 
their clients* income taxes. This enhanced oppor- 
tunity, as well as ill health and the need for the 
more kindly climate of his own country, may have 


brought Mr. Rogers's visit to an earlier close than 
it would otherwise have had. He parted with the 
keenest regret from the town and countryside 
which he had explored so minutely, and from 
those friends in the University who, like any 
unsociable man's friends, had been diffidently 
chosen and warmly cherished. 

For several years he had, on occasion, cooper- 
ated with the Harvard University Press in Cam- 
bridge, Massachusetts, as critic of some of its 
productions. Upon his return to America, Har- 
vard conferred on him the official position, which 
he still holds, of Printing Adviser to the Press. 
The Harvard University Press is a well-equipped 
institution, blessed above its fellows with officers 
and supporters who have enthusiasms about 
printing. It has also had the good fortune to col- 
laborate with Mr. Updike and with such learned 
bibliographers as Mr. George Parker Winship. In 
consequence, the standard of execution is high, 
and Mr. Rogers has not found it necessary to go 
into the more elementary details in planning a 
format, a thing which he could not spare time for 
in unsigned work. When a press reaches a certain 
point of technical excellence and has come to be 
known for a definite style of its own, it is often in 
the greatest need of creative suggestions from an 
outsider, to prevent staleness in treatment. When 


it can avail itself of the curiosity and ingenuity of 
a Bruce Rogers, whose chosen motto is Vivificat 
vitam varietas, one may expect those almost flaw- 
less books which are the perfection of trade edi- 
tions. It was, then, at Harvard that Mr. Rogers 
reaccustomed himself to America and surveyed 
the field of opportunity. 

Among the New York printing houses that of 
William Edwin Rudge was attracting consider- 
able attention through the ability of its proprietor 
to give his work magnificence without making it 
look foolish. Mr. Rudge was aided by the current 
demand for magnificence; but so were a score of 
nearsighted contemporaries whom the impending 
panic was to throw into such embarrassment. 
What Mr. Rudge possessed in addition was a sin- 
cere ambition to do book printing of permanent 
quality. Mr. Rogers was accordingly oflFered the 
task of designing the more particular pieces of 
printing that the Rudge establishment was to 
produce. He agreed, and again moved to New 
York, where Mr. Rudge was just completing the 
remodelling of his newly acquired building at 
Mount Vernon. One of the first results of this 
association was the booklet The Night before 
Christmas^ sent out as a holiday greeting in 1920. 
Printed in that dashing italic of mysterious origin, 
eigh teen-point Original Old Style, the book*s wag- 


gish air promised much to lovers of light-hearted 

In spite of his frequent use of post-Caslon types 
in the past, and his paraphrase of the fifteenth- 
century letter of Jenson, Mr. Rogers was still ex- 
pected to perform his best and happiest work in 
the manner of the French sixteenth century; in- 
deed, his treatment of Centaur has always been 
such as to bring out the qualities in Jenson^s 
original that seem most removed from the buxom 
printing of the early Renaissance, and nearest re- 
lated to the italianate French productions of half 
a century later. Thus the most exigent student of 
'periods' could not object to the Estienne heading 
and initial which, in l!he Centaur^ are used with a 
type which is in essence Jenson's. It is a mooted 
question of the nuances of colour; Cloister Old 
Style, which follows Jenson more literally from 
impressions of his type in damp paper, is alto- 
gether too heavy in colour to be supported by the 
delicate decoration of a later style. As one most 
competent to revive the traditions of sixteenth- 
century masters, Mr. Rogers was looked to with 
great interest, upon its completion in 1920, for his 
first use of the new Garamond series which the 
American Type Founders Company had brought 
out at the suggestion of Mr. Henry L. Bullen. The 
full range of sizes had been cut in time for the 

semi-centennial of the Metropolitan Museum in 
1920, when it was most effectively used in various 
pieces of occasional printing by the Museum 
Press. Those who had expected a piece of * period' 
work were surprised in that year by the appear- 
ance of l^he Journal of Madam Knight^ a re- 
printed account of the wanderings of a sprightly 
eighteenth-century lady through colonial New 
England; nothing could be more definitely re- 
moved from dignified sixteenth-century printing 
than this calico-covered volume with jolly line- 
blocks in Papillon's manner, and an amusing 
map. Yet the sharp, whimsical character of Gara- 
mond has seldom been turned to better account. 
Had the book been printed in Caslon, it would 
have been simply imitative and perhaps con- 
sciously 'quaint.' If, indeed, we grant the obvious 
fact that the choice of type gives the essential 
flavour to a piece of printing, it may be contended 
that Mr. Rogers has never designed a book which 
can be called, in toto, * sixteenth-century,' that is, 
one in which all the typographic elements are in- 
spired by the best work of that single epoch. Even 
the new Champ Fleury^ which follows the general 
arrangement of the first edition as closely and 
gravely as a good angel might follow a toper, is set 
in Centaur. Those volumes, on the other hand, 
which do make use of the only sixteenth-century 


face available in America, are either given decora- 
tion not strictly conforming to the supposed date 
of the type, like Madam Knight, or are without 
any definite reminiscence, purely original things, 
like Night and Moonlight. The exceptional case 
of the Garamont number of Monotype may be 
counted more as a type specimen than as an ex- 
ample of book-making. That Mr. Rogers enjoys 
his widest reputation as a worker in the sixteenth- 
century style must, then, arise from his prepos- 
sessions in the past for certain uses of woodcut 
ornament, rather than from any attempt on his 
part to imitate as closely as possible the master- 
pieces of the time of the Estiennes. The ease and 
sympathy of his handling of Renaissance styles 
enables him to take liberties which he has not al- 
lowed himself, at least in some of his earlier work, 
with modern faces. The conscious effort toward a 
'period' is far more evident in Paul et Virginie 
than in the Ronsardy for example; the former, as 
Mr. Pollard says, 'might have come straight from 
Didot's workship' — a dubious compliment akin 
to saying that a certain coin might have come 
straight from the mint. Yet in spite of this and 
of other tours deforce in post-Caslon or modern 
types, Mr. Rogers is not generally assigned, as 
Mr. Updike has somewhat too hastily been, to 
the last quarter of the eighteenth and the first 


quarter of the nineteenth centuries for his re- 
sources and inspirations, but to the earlier epoch; 
although, now that he has almost entirely aban- 
doned the use of drawn or woodcut ornament, 
this idea may have to be reconsidered. 

Among the first Rogers imprints executed at 
Mr. Rudge's establishment were those published 
by Dunster House, a bookshop in Cambridge, 
Massachusetts. They include the lean and some- 
what stark-looking volume, ^he Red Path and 
'^he Wounded Bird^ two poems by John Freeman 
(Cambridge, 1921), and a catalogue o( Books from 
the Library of the Late John Williams White y is- 
sued in the same year. In the next year Dunster 
House also published Priapus and the Pooly a col- 
lection of poems by Conrad Aiken. In this, as in 
the Freeman book, Mr. Rogers had the problem 
of presenting a modern work in which any typo- 
graphic borrowing from antiquity would have 
been, in the stricter sense, impertinent. Priapus 
and the Pool uses no counter-attraction of line-cut 
decoration or unaccustomed type-setting against 
the beauty of Mr. Aiken's poetry. The type is 
Original Old Style (Linotype), the size and ar- 
rangement of the page are admirably suited to the 
uneven lines of verse. Two thread-like bands of 
lozenge rule on the title-page, together with the 
Dunster House monogram, constitute all of the 


decoration. For no too-obvious reason, the book 
is a completely delightful thing. Another book 
which is effective through simplicity is Night and 
Moonlight^ by Henry D. Thoreau (New York, 
Hubert R. Brown, 1921). According to the adver- 
tisement with which Mr. Rogers announced this 
book, it was to be the first of a series (of which 
Diirer's Roman Letters was to be the second) : ' In 
my intervals of leisure I intend to print several 
little books whose subjects will be my own choice. 
The selection will conform to no premeditated 
plan and the list will probably be as varied in con- 
tent as in typography. The first of these publica- 
tions, a reprint of Thoreau's Night and Moonlight ^ 
is now ready for distribution. First published in 
the Atlantic Monthly in 1863, it was later in- 
cluded in the Miscellanies^ but has never before 
been issued in separate form, so far as I know. 
Though one of the shortest, it is perhaps the most 
poetic of Thoreau's studies of landscape. He defi- 
nitely intended to give it that quality, aiming, 
as he himself says, "to add to the domain of poe- 
try"; and, in turn, I have endeavoured to make 
it an addition to the poetic side of book-making.' 
The * blonde ' effect of Night and Moonlight is 
due in part to the use on the title-page of Goudy 
Open capitals and to the little crescent-moon 
brackets that surround the page-numbers. These 


brackets were made from open-face capital O's, 
which were cut in half. The first page contains a 
woodcut in colours by Florence Wyman Ivins. 
The type is foundry Garamond, which was also 
used in the same year for a privately printed edi- 
tion of Increase Mather's Several Reasons^ a book 
which employed some of the line-blocks of ara- 
besque flowers that had been used in England. 

Mr. Rogers's interest in Garamond as a book 
face waned while this latter book was in progress, 
but the possibilities of printers' flowers appealed 
to him as never before. Drawing for reproduction 
with type he had always found difficult, and how- 
ever effective the final result might be, he seldom 
was satisfied with it. Units of type ornament, on 
the other hand, are not only homogeneous with 
printing, but offer a range of combinations which, 
in the simpler forms, is almost endless. In the 
spring of 1921 he was one of the six printers in- 
vited by the Grolier Club each to produce a book 
of his own choice in his own way. The invitation 
came in good season, for a rush of more or less 
perfunctory work had settled upon him at Mount 
Vernon, and he was becoming irked and discour- 
aged at his inability to spend enough time and 
pains on a few important things. His choice of ma- 
terial was Ernest Dowson's Pierrot of the Minute^ 
a work which is closely associated in the minds of 


Dowson readers with the illustrations of Aubrey 
Beardsley. Instead of again using these, he em- 
bowered the text in a combination of eighteenth- 
century ornaments. The poem is an echo of an 
artificial age by one who delighted in verbal arti- 
fice, and the Rogers edition, with its fragile gar- 
lands and moons printed in a soft rose-red, is a 
triumph of whimsical humour over the mechan- 
ics of type-setting. Mr. Kent owns a collection of 
progressive trial pages and proofs of the great 
number of combinations which were set up and 
discarded before the final result was obtained. 
The Deberny types, as well as the ornaments cut 
in imitation of Fournier's, had been imported 
from France. The Pierrot was ready for the press 
by the spring of 1922, but the choice of paper 
delayed publication. 

Meanwhile Mr. Rogers had undertaken to de- 
sign several books in a variety of modern types, 
which oflFer a sharp contrast, in their crisp se- 
verity, to the old-style fantasy of the Pierrot, It 
could not be called reaction from decoration, for 
Gallatin's American Water-Colourists (printed in 
Bodoni) has a title-page cleverly furbished with 
parentheses grouped as ornaments, while l!he 
Presbyterian Child^ which appeared in the next 
year and is, perhaps, the most distinguished of 
his books in Scotch roman, is given an almost 


architectonic title-page by the use made of small 
dart motives. It was rather that these books, like 
almost all American editions, had to be set on 
composing machines, and the Monotype Scotch 
was the only face besides the perennial Caslon 
which seemed to offer possibilities. A new de- 
velopment by the Lanston Monotype Company, 
however, widened the field of choice, and was the 
occasion of Mr. Rogers's designing a type speci- 
men which has hardly a peer for ingenuity: the 
'Garamont issue' (Spring, 1923) of the periodical 
Monotype y in which appears the first official show- 
ing of the new type face adapted by Mr. Goudy 
from the design of the caracteres de V Universite of 
the French National Printing Office. Mr. Rogers 
could find no ornaments of appropriate character 
for this face, which has a somewhat sharper ap- 
pearance than the foundry version. Even had he 
wished to, he could hardly have drawn special 
decorations for a type specimen. Instead, he re- 
touched and somewhat refined the drawings of 
* flowers' which he had brought back from Eng- 
land, and had matrices engraved from these. The 
resulting type-ornaments may safely be called the 
most successful adaptation of traditional printers' 
motives that exists to-day. They were used in the 
Garamont number in a profusion of arrange- 
ments. The whole pamphlet seems to have been 

done in high spirits, and the designer breaks into 
a chuckle in the colophon: 

*It only remains to add that, as an authority 
once said I was "still to be reckoned a Hmited 
edition man," I must bear out his classification, 
and incidentally give this note the characteristic 
colophonic flavor, by stating that this issue of 
Monotype^ printed from type that will be de- 
stroyed (not distributed) after printing, is limited 
to 20,000 copies/ 

In sober fact, the designer had been working for 
some time on a kind of book which was far re- 
moved from the preciousness we associate with 
limited editions. His name, it is true, has never 
been put upon an edition which could be allowed 
to go through the presses without his instant su- 
pervision; but this is mainly a guaranty against 
the depredations of long runs and mass-produc- 
tion methods. For example, in 1923 the Harvard 
University Press issued a limited edition oi Words- 
worth in aNew L/^>^/, which was signed by him, and 
a trade edition on ordinary paper, cloth bound; 
the latter is somewhat smaller in size, but has 
the same typographical design and is in itself a 
thoroughly attractive piece of printing. Another 
Harvard book of his planning was Houston's Doc- 
tor Johnson (1924), which is so straightforward in 
its design that the average reader does not feel 


himself confronted with any mystery of fine typog- 
raphy, but finds instead a clear and inviting page, 
presumably full of the author's ideas. The lover of 
paintings is no longer allowed to ask that every 
picture tell a story, but the reader can and must 
ask typography to tell the author's story, without 
any talk of print for print's sake. It is unfortunate 
that this notion seems to be confined, among print- 
ers, to the humblest unenlightened on the one hand 
and to the rare virtuosi on the other, and that 
the otherwise ambitious do not regard it. Mr. 
Rogers has recently designed two books for Alfred 
A. Knopf, New York — Hudson's Ralph Heme 
(1923), a novel, and Morley's Edmund Burke 
(1924). The editions of both are limited, and the 
publisher's announcements throw a certain glam- 
our of * fine printing' about the enterprise; but the 
books themselves, printed in Caslon, have the un- 
assuming and lucid appearance that should be the 
very first quality of any serious typography. It is 
to be hoped that this little leaven will have its 
eflPect upon the printing of American fiction, most 
of which has been left so pitiably far behind by 
the learned presses. 

The title-page ol Ralph Herne^ as well as a little 

book called "The Ballad of William Sycamore 

(Brick Row Bookshop, New York, 1923), shows 

the interest which arabesque flower combinations 


still have for Mr. Rogers. He has used Garamond 
only twice in book-work, and seems to consider 
it unsatisfactory; perhaps it is too dazzling. Gar- 
amond capitals, however, were used in an in- 
teresting and strikingly successful experiment in 
printing the hand-book of The Arts of the Book 
exhibition at the Metropolitan Museum in 1924. 
He had often deplored the overbearing weight of 
Caslon capitals, and in this instance he substituted 
those of Monotype Garamont, which gave light- 
ness and more life to the Caslon lower-case with- 
out any feeling of incongruity. 

Two more books should be mentioned as repre- 
senting in a striking degree the conviction (if it 
cannot be called a style) at which Mr. Rogers has 
perhaps definitely arrived; and a third will pos- 
sibly give a hint of a new development in his 
work. The first is a slight Christmas book, Eugene 
Field's I'he Symbol and the Saint (1924). The title 
represents a casement window in a nursery, and 
the whole composition is done in type, cast orna- 
ments being combined with rules, parentheses, 
commas, other unsuspected printer's equipment 
and what-not, with the most exquisite ingenuity. 
The astonishing thing is that it is in good taste, 
and that the humour is too pretty to be flat. 
Trickery it is; but the trick succeeds without the 
aid of an alien line-block or woodcut. This page is 


only meant to be deft foolery, but there is a line of 
ornaments at the top of the first page of text 
which in its utter simplicity is a triumph of sug- 
gestion: somehow a succession of commas and lit- 
tle leaf-forms holds the image of waves and leap- 
ing dolphins as vividly as it is held on the rim of a 
Greek vase. Anything as satisfactory and provoc- 
ative as this preaches its own lesson, which is, in 
this case, that typography is a science of symbols, 
and that ornament in a book may most fittingly 
be restricted to the simple — and therefore inex- 
haustible — motives which have a common origin 
with types. What rich fields of experiment await 
the convert to this belief is shown in the latest 
pamphlet for the Monotype Company, in which a 
new type face, * Italian Old Style,' is shown in 
combination with bold leaf and flower forms. He 
even discovered among some of their passe Hal- 
lowe'en ornaments a derisively grinning rat and 
frog, and the tiny creatures squat among the dec- 

The book has accepted a limitation: the use of 
type alone has therefore gained that feckless free- 
dom that can be found only within a limitation. 
In some specimen pages at the end another at- 
tempt has been made to put all the letters of the 
alphabet into a sentence, and in one of them Mr. 
Rogers has discarded the well-known text, *pack 


my box with five dozen liquor jugs/ in favour of a 
series of statements about *xvi brawny gods.' The 
cover design of a special issue printed privately 
for Mr. Rogers combines simple, bold curves and 
rules, such as would be used for display borders, 
into a pattern suggesting the outline of Italian 
renaissance shields. In such uses, where there is no 
attempt to be too explicit in representation, the 
new manner is undeniably successful and, it may 
be added, less dangerous in its influence. We shall 
suff^er before long from the laborious inventions of 
littler men who have seen the originality, but not 
the discretion, in this jeu d' esprit. 

There remains one more book which should be 
singled out for mention for several reasons: The 
Portraits of Increase Mather^ privately printed for 
Mr. William Gwinn Mather in 1924. This book is 
printed in what has been pronounced an authentic 
Baskerville type face; but it is not 'period' work. 
It is the result of independent choice of material; 
but there is in it nevertheless a rich measure of 
that quintessential of Mr. Rogers's work — stud- 
ied sympathy. It is interesting to know that he 
had been making tentative use of this type in pro- 
spectuses and in T'he Cemetery at Souain^ a me- 
morial volume printed privately at the Harvard 
Press in 1921. T!he Portraits of Increase Mather ^ 
one of his most recent books, shows that he has 


perfectly mastered the difficulties of the Basker- 
ville letter, and has managed to throw over its 
austerity a warmth and naturalness which give it 
new life and charm. The bobbed descenders of the 
'Baskerville* of modern English and American 
type-founders had prevented his using their ver- 
sions, but now that a worthy design is at his dis- 
posal, it may confidently be expected that his 
interest in the face, and in the clear bright sim- 
plicity of design which he finds suitable for it, will 
continue. We shall still have from him, doubtless, 
a succession of such pyrotechnics in type-orna- 
ment as the elaborate 'fountain' composed as a 
title-page for an American paper manufacturer, 
since his skill in such conjuring is unique. 

The very impressiveness of such feats, however, 
has already led to such imitation as to dull the 
spur of invention for Mr. Rogers. He has recently 
expressed a desire to produce editions, in small 
formats, of only reading matter — books which 
would be simple and attractive without the self- 
consciousness implied in that tattered word ' fine.' 
A series of little books comparable for brilliance 
and sincerity with the editions stereotypes of Didot 
would be a fit problem for the erstwhile * limited 
edition man ' and a most powerful means of in- 
fluencing the typographic standards of two conti- 


It may be that from an endeavour of this kind 
there will come a style universal yet still in- 
dividual. If Mr. Rogers started as a deliberately 
eclectic and very varied designer, he soon tended 
towards a certain neo-renaissance style. He bor- 
rowed from the Italian fifteenth century and from 
the French sixteenth century, fusing both into a 
graceful style which was his characteristic, though 
not for long. It reached its climax, perhaps, with 
l!he Centaur. The designer's residence in England 
marks the beginning of a new tendency in his 
work, namely the development of the resources of 
type and cast type-ornaments alone. Now, long 
before exhausting the opportunities for lively in- 
ventions along the lines of T!he Pierrot of the Min- 
ute, Mr. Rogers turns to the candour of a transi- 
tional type and gives promise of a typography 
which will be more straightforward and less mag- 
nificent than some of his previous work. Yet it will 
assuredly partake of that curious quality oi amia- 
bility ^ impossible to analyse and yet so obvious, 
which may always be seen in his work as an elu- 
sive lustre. 






A Forest Hymn. By William Cullen Bryant. [La Fayette, 
Ind. c. 1885.] 

A single copy, lettered by hand and illustrated with water-color draw- 
ings. Small 4to, decorated paper cover. (i) 

Impressions. A paper read by Mary E. Steele before the 

Portfolio Club. Indianapolis, 1893. 

Title-page drawn by B. R. 4to, paper covers. (2) 

Homeward Songs by the Way. By A. E. [George W. 

RusselQ. Portland, Thomas B. Mosher, 1895. 

Old Style type. Decorations by B. R. 925 copies. i6mo, Japan paper 
covers, uncut. (3) 

Notes: Critical and Biographical. By R. B. Gruelle. 
Collection of W. T. Walters. Indianapolis, 1895. 
Old Style Antique type. Initials, headbands, and title-page designed 
by B. R. 975 copies. Six copies on Whatman paper with initials 
rubricated. 8vo, limp boards, uncut. (4) 

The Banquet of Plato. Translated by Percy Bysshe 
Shelley. Chicago, Way and Williams, 1895. 
Old Style Antique type. Title-page and decorations by B. R. Square 
i6mo, cloth, uncut. (5) 

Pierre Puvis de Chavannes, A Sketch. By Lily Lewis 
Rood. Boston, L. Prang & Co. [J. M. Bowles] 1895. 

Old Style Antique type. Portrait and reproductions. 500 copies. 
8vo, paper covers. (6) 


Cambridge^ Mass. 

The Monument to Robert Gould Shaw. Its Inception, 
Completion, and Unveiling. Boston, 1897. 

Old Style type. Frontispiece. Title in red and black. 4to, buckram, 
gilt top. (7) 

Tuscan Songs. Collected and illustrated by Francesca 
Alexander. Boston, 1897. 

Caslon type. Facsimiles. Title in red and black. Small folio. Two 
editions, one on Japanese paper in full vellum, gilt. (8) 

Under the Beech-Tree. By Arlo Bates. Boston, 1899. 

Old Style type. Initials designed by B. R. Title in red and black. 
Narrow Svo, cloth, uncut. (9) 

A Century of Indian Epigrams. By Paul Elmer More. 
Boston, 1899. 
Caslon type. i6mo, boards, cloth back, gilt top. (10) 

A Little Tour in France. By Henry James. Boston, 

Old Style type. Illustrated by Joseph Pennell. 250 copies on large 
paper, 8vo, boards, cloth back, uncut. (n) 

Sonnets and Madrigals of Michelangelo Buonarroti. 
Rendered into English Verse by W. W. Newell. With 
Italian text, Introduction and Notes. [Cambridge] 

Caslon Italic type. Title-page border and decorations. 300 copies 
for sale. Two copies on special paper, in parchment binding, with 
the decorations painted by B. R. i6mo, cloth, gilt top, uncut. *(i2) 

RuBAiYAT OF Omar Khayyam. By Edward Fitzgerald. 
Edited by W. A. Brown. [Boston] 1900. 
Brimmer type. 300 copies printed in red and black. 8vo, boards, 
buckram back, uncut. *(i3) 

Whittier as a Politician. Edited by S. T. Pickard. 
Boston, C. E. Goodspeed, 1900. 

Brimmer type. Portrait and facsimile. 150 copies. 8vo, boards, 
uncut. *(i4) 

Loo OF THE Columbia. Season of i 899. By H. C. Leeds. 
Cambridge, 1900. 

Caslon type. 50 copies printed in red and black for the author. Im- 
perial Svo, buckram, paper label, uncut. *(i5) 

Italian Journeys. By W. D. Howells. Boston, 1901. 

Old Style type. Illustrations by Joseph Pennell. 300 copies on large 
paper. Svo, boards, cloth back, uncut. (16) 

Poems: Now First Collected. By Edmund Clarence 
Stedman. Boston, 1901. 
Caslon type. Title in red and black. Svo, buckram, gilt top. (17) 

Mater Coronata. Recited at the Bicentennial Celebra- 
tion of Yale University xxiii October mdcccci by Ed- 
mund Clarence Stedman. Boston, 1901. 
Brimmer type. Svo, decorated boards, cloth back, uncut. *(iS) 

Or Friendship. An Essay from A Week on the Concord 
and Merrimack Rivers. By Henry D. Thoreau. [Cam- 
bridge] 1 90 1. 

Brimmer type. Woodcut ornament on title. 500 copies. Narrow 
lamo, boards, cloth back, uncut. *(i9) 


Voyage Autour de ma Chambre. Par Xavier de Maistre. 
Cambridge, 1901. 

Caslon type. Title-page and decorative headings engraved by Sidney 
L.Smith. 500 copies. i2mo, boards, parchment back. *(2o) 

Poems. By William Vaughn Moody. Boston, 1901. 

Caslon type. 150 copies of first edition. i2mo, bound in boards, 
uncut. (21) 

Obermann. Selections from Letters to a Friend. By 
Etienne Pivert de Senancour. Cambridge, 1901. 
Caslon type. Woodcut vignettes on titles. 300 copies. 1 vols. 8vo, 
boards, uncut. *(22) 

Mr. Brown's Letters to a Young Man about Town. 
By W. M. Thackeray. Cambridge, 1901. 

Riverside Modern type. 500 copies. i2mo, marbled boards, cloth 
back, paper label, uncut. *(23) 

Annals of de Normandie. Edited by Arthur Sandys. 
Cambridge, 1901. 

Caslon type. Frontispiece. 50 copies, printed for the Family. 8vo, 
boards, buckram back, uncut. (24) 

The May-flower and her Log. Edited by Azel Ames. 
Boston, 1 901. 

Caslon and Original Old Style types. Illustrated. Small 4to, buckram, 
uncut. (25) 

Democracy. By James Russell Lowell. [Cambridge] 

Brimmer type. Woodcut ornament on title. 520 copies. Narrow 
i2mo, boards, cloth back, uncut. *(26) 

A Report of the Last Sea-Fight of the Revenge. By 
Sir Walter Raleigh. Cambridge, 1902. 
Montaigne type, trial fount. With a woodcut after Howard Pyle, 
woodcut border and initial. 300 copies, printed by hand. 4to, deco- 
rated boards, uncut. *(27) 

The Journal of a Voyage to Lisbon. By Henry Field- 
ing. Cambridge, 1902. 

Brimmer type. Portrait. 300 copies. 8vo, boards, buckram back, un- 
cut. *(28) 

The Poems of Edward Rowland Sill. Cambridge, 1902. 

Riverside Modern type. Portrait. 500 copies. Large 8vo, paper 
boards, uncut. (29) 


Journal of a Tour in the Netherlands. By Robert 
Sou they. Boston, 1902. 

Riverside Modern type. 519 copies. i2mo, marbled paper boards, 
cloth back, uncut. *(3o) 

The Anti-Slavery Papers of James Russell Lowell. 
First collected edition. Boston, 1902. 

Riverside Modern type. 525 copies. 2 vols. 8vo, paper boards, 
uncut. (31) 

Prothalamion : Epithalamion. By Edmund Spenser. 
Boston, 1902. 

Brimmer Italic type. Decorations in old red on India paper from 
drawings by Edwin H. Blashfield. 419 copies. Small folio, boards, 
uncut. *(32) 

The Essays of Montaigne. [Translated] by John Florio. 
Edited, with Bibliography and Notes, by George B. Ives. 
Boston, 1902-03-04. 

Montaigne type. Woodcut portraits, borders and initials. 265 
copies. 3 vols. Folio, boards, canvas back, uncut. *(33) 

Castilian Days. By John Hay. Boston, 1903. 

Old Style type. Illustrations by Joseph Pennell. 350 copies on large 
paper. 8vo, boards, cloth back, uncut. (34) 

Compensation. An Essay by Ralph Waldo Emerson. 
[Boston] 1903. 

Brimmer type. Woodcut ornament on title. Printed in red and 
black. 530 copies. Narrow i2mo, boards, cloth back, uncut. *(35) 

Instructions Concerning Erecting of a Library. By 
Gabriel Naudeus. Interpreted by Jo. Evelyn. Cam- 
bridge, 1903. 

Brimmer type. Printed in red and black. 419 copies. i2mo, boards, 
leather back, uncut. *(36) 

Songs & Sonnets of Pierre de Ronsard. Selected & 
Translated into English Verse by Curtis Hidden Page. 
With an Introductory Essay & Notes. Boston, 1903. 
Caslon Italic type. Title border and decorations in red. 425 copies. 
Narrow i2mo, boards, uncut. *(37) 

My Cookery Books. By Elizabeth Robins Pennell. 
Boston, 1903. 

Modern type. Reproductions and facsimiles. 330 copies. 4to, mar- 
bled boards, buckram back, uncut. *(38) 

The History of Oliver and Arthur. Done into English by 
William Leigh ton and Eliza Barrett. [Cambridge^ ^9^3- 
Priory Text type. Facsimile woodcuts on title and in the text. 
Printed in red and black. 330 copies. Small 4to, boards, cloth back, 
uncut. *(39) 


Fifteen Sonnets of Petrarch. Selected and Translated 
by T. W. Higginson. Boston, 1903. 

Caslon Italic type. Woodcut title in red and black, text within red 
rules. 430 copies. Narrow 1 2mo, boards, vellum back, uncut. *(4o) 

PoNKAPOG Papers. By T. B. Aldrich. Boston, 1903. 

Old Style type. 200 copies of the first edition bound in cloth, uncut, 
with paper label. Narrow i2mo. (41) 

ZuT AND Other Parisians. By Guy Wetmore Carryi. 

Boston, 1903. 

Old Style type. Decorative headings. 8vo, cloth, colored top. (42) 
Kwaidan : Stories and Studies of Strange Things. By 

Lafcadio Hearn. Boston, 1904. 

Old Style type. Printed in red and black. i2mo, cloth, uncut. (43) 
The Parlement of Foules. By Geoffrey Chaucer. 

[Boston, 1904.] 

French Gothic type. Printed in red, blue, and black. Initials 

gilded. 325 copies. 8vo, boards, uncut. *(44) 

A Christmas Eve Family Story. By Charles Dalton. 
Boston, 1904. 

Brimmer Italic type. 50 copies printed for the author. 8vo, decorated 
cloth, uncut. *(4S) 

A Collection of the Facts and Documents, relative 
to the Death of Major-Gen era l Alexander Hamil- 
ton; With Comments . . . By the Editor of the Evening 
Post. Boston, 1904. 
Caslon type. 430 copies. 8vo, cloth, paper label, uncut. (46) 

The Old Manse. By Nathaniel Hawthorne. [Boston] 

Brimmer type. Title-page in red and black, with woodcut. 530 
copies. Narrow i2mo, boards, cloth back, uncut. *(47) 

Documents Relating to the Purchase and Explora- 
tion OF Louisiana. By Thomas Jefferson and William 
Dunbar. Boston, 1904. 

Caslon type. Portrait and folding map. 550 copies. Royal 8vo, 
cloth, paper label, uncut. *(48) 

Certaine Sonets. By Sir Philip Sidney. [Boston] 1904. 
Caslon type. Title-page in black and green. 430 copies. Narrow 
1 2mo, half parchment, uncut. *(49) 

Geo RGics OF Virgil. Translated . . . by J. W. Mackail. 
[Boston, 1904.] 

Brimmer Italic type. Decorative illustrations in brown. 330 copies. 
Decorated boards, vellum back, uncut. *(5o) 

5S . 

Life of Dante. By Giovanni Boccaccio. Translated by 
Philip Henry Wicksteed. [Boston] 1904. 
Montaigne type. Woodcut portrait. 26s copies, printed by hand 
in red and black. 4to, boards, vellum back, uncut. *(5i) 

English Hours. By Henry James. Cambridge, 1905. 

Old Style type. Illustrations by Joseph Pennell. 400 copies on large 
paper. 8vo, boards, cloth back, uncut. (52) 

The Life and Death of Cardinal Wolsey. By George 
Cavendish. Boston and New York, 1905. 

Caslon type. Photogravure portraits after Holbein. 1030 copies. 
Imperial 8vo, boards, buckram back, uncut. *{53) 

A CoNsoLATORiE Letter OR DISCOURSE. By Plutarch. 
Translated by Philemon Holland. [Boston] 1905. 
Brimmer type. 375 copies. 8vo, boards, linen back, uncut. *(54) 

Sign's Sonets. Periphras'd by Francis Quarles. Cam- 
bridge, 1905. 

Brimmer type. Printed in red and black. 430 copies. i6mo, boards, 
uncut. *(55) 

The Question of our Speech. The Lesson of Balzac. 
Two Lectures by Henry James. Boston, 1905. 
Caslon type. Narrow i2mo, boards, cloth back, uncut. (56) 

A Sentimental Journey through France & Italy. 
[By Laurence Sterne.] Boston, 1905. 

Brimmer type. Woodcut vignettes on title. 335 copies. 8vo, boards, 
buckram back, uncut. *(57) 

The Love Poems of John Donne. Edited by Charles 
Eliot Norton. Boston, 1905. 

Caslon type. Border on title-page. 535 copies. Narrow i2mo, 
boards, vellum back, uncut. *(s8) 

The Life and Works of George Herbert. Edited by 
G. H. Palmer. Boston, 1905. 

Scotch type. 150 copies on large paper. 6 vols. 8vo, boards, 

buckram back, uncut. *(59) 

Bibliography of Nathaniel Hawthorne. By Nina E. 
Browne. Boston, 1905. 
Scotch type. 530 copies. Large crown 8vo, cloth, uncut. (60) 

Bibliography of Nathaniel Hawthorne. By Wallace 
Hugh Cathcart. Cleveland, 1905. 
Caslon type. 91 copies for the Rowfant Club. 8vo, boards, uncut. (61) 


Sailors* Narratives of Voyages along the New Eng- 
land Coast. Edited by G. P. Winship. Boston, 1905. 
Caslon type. Maps and facsimiles. 440 copies. 8vo, cloth, uncut. (62) 

Letters of Mary Boardman Crowninshield. Boston, 

Caslon type. 320 copies. 8vo, boards, uncut. {63) 

In Memoriam. Rebecca Andrews Greene. [Cam- 
bridge, 1906.] 

Brimmer type. Portrait. 300 copies privately printed. 8vo, boards, 
uncut. (64) 

A Bibliography of the Writings of Henry James. By 
LeRoy Phillips. Boston, 1906. 
Caslon type. 250 copies. 8vo, boards, uncut. (65) 

Bibliography of James Russell Lowell. By George 
Willis Cooke. Boston, 1906. 
Scotch type. 530 copies. Large crown 8vo, cloth, uncut. (66) 

The Autobiography of Benjamin Franklin. Boston, 

Caslon type. Illustrated. 1030 copies. Imperial 8vo, boards, buck- 
ram back, uncut. (67) 

Paul et Virginie. Par Bernardin de Saint-Pierre. Boston, 

French Didot type. Woodcuts by M. Lamont Brown after copper- 
plates in first edition. 250 copies. Imperial 8vo, boards, uncut. *(68) 

Theocritus. Translated by C. S. Calverley. Boston, 1906. 
Brimmer Italic type. Woodcut decorations. 330 copies. Royal 
8vo, decorated boards, uncut. *{6g) 

A Book of Songs and Sonnets. Selected from the Poems 
of T. B. Aldrich. Boston, 1906. 

Caslon type. Decorated title-page in red and black. 430 copies. 
Narrow i2mo, decorated boards, uncut. *(7o) 

The Song of Roland. Translated by Isabel Butler. 
[Cambridge, 1906.] 

French Gothic and Civilite types. Printed by hand in red, blue, 
brown and black. Illustrations colored by hand. 220 copies. Folio, 
decorated boards, vellum back, uncut. *(7i) 

Hydriotaphia, Urne-Buriall. By Sir Thomas Browne. 
[Cambridge] 1907. 

Brimmer type. Woodcut border on title. 385 copies. 4to, crimson 
sheepskin, stamped in gold. *(72) 


Abraham Lincoln. By Carl Schurz and T. H. Bartlett. 

Boston, 1907. 

Caslon type. Illustrated. 1030 copies. Imperial 8vo, boards, 

sheepskin back. (73) 

Some Unpublished Correspondence of David Garrick. 
Edited by George Pierce Baker. Boston, 1907. 
Oxford type. Portraits. 430 copies. Royal 8vo, buckram, uncut. *(74) 

Epistolae Ho-Elianae. The Familiar Letters of James 
Howell. With an Introduction by Agnes Repplier. 
Boston, 1907. 

Caslon type. With frontispieces and rubricated titles. 120 copies on 
large paper. 4 vols. 8vo, boards, cloth back, paper label, uncut. (75) 

The Sonnets of Henry Wadsworth Longfellow. 
With an Introduction by Ferris Greenslet. Boston, 

Caslon type. Large paper edition of 275 copies. i2mo, boards, paper 
label, uncut. *(76) 

Henry Wadsworth Longfellow; a Sketch of his Life. 
By Charles Eliot Norton. Together with Longfellow's 
Chief Autobiographical Poems. Boston, 1907. 
Caslon type. Two portraits. 400 copies. Svo, boards, uncut. (77) 

The Poems of Maria Lowell. Cambridge, 1907. 

Monotype Scotch type. Woodcut vignette on title, and frontis- 
piece portrait. 330 copies. Svo, boards, uncut. *(78) 

Earl Percy's Dinner-Table. By Harold Murdock. 
Boston, 1907. 

Caslon type. Frontispiece portrait by Sidney L. Smith on India 
paper. 550 copies. Royal 8vo, cloth, uncut. *(79) 

John Greenleaf Whittier. A Sketch of His Life, by 
Bliss Perry, with Selected Poems. Boston, 1907. 
Scotch type. Illustrations. 430 copies. Svo, cloth, uncut. (80) 

Augustus St. Gaudens. By Royal Cortissoz. Boston, 
Montaigne type. Illustrated. 4to, cloth, uncut. (81) 

Venetian Life. By W. D. Howells. Cambridge, 1907. 
Old Style type. Illustrations in color by Edmund H. Garrett. 550 
copies on large paper. 2 vols. Svo, boards, uncut. (82) 

Horace Walpole, Printer. By Percival Merritt. Boston, 

Oxford type. Reproductions. 77 copies printed for the author. i6mo, 
thin boards, uncut. *(83) 


Human Bullets. A Soldier's Story of Port Arthur. By 
Tadayoshi Sakurai. Edited by Alice Mabel Bacon. 
Boston, 1907. 

Old Style type. Title in red and black. 1 2mo, decorated cloth, colored 
top. (84) 

Bibliography of Oliver Wendell Holmes. By George 
B. Ives. Boston, 1907. 
Scotch type. 500 copies. Large crown 8vo, cloth, uncut. (85) 

New England's Plantation. By Rev. Francis Higgin- 
son. Salem, 1908. 

Caslon type. Woodcut vignette on title-page. 175 copies printed for 
the Essex Book and Print Club. Narrow 8vo, boards, cloth back, 
uncut. *(86) 

The Banquet of Plato. Translated by Percy Bysshe 
Shelley. [Boston] 1908. 
Montaigne type. 440 copies. i2mo, boards, uncut. *(87) 

Park-Street Papers. By Bliss Perry. Boston, 1908. 

Caslon type. Decorative title and headbands. 250 copies of first 
edition, bound in boards, uncut. (88) 

The Life and Adventures of Robinson Crusoe. By 
Daniel Defoe. Boston [1908]. 

Caslon type. Illustrations after Stothard. Large-paper edition, 4 vols. 
8vo, boards, cloth back, uncut. (89) 

The Mystery of Golf. By Arnold Haultain. Boston, 

Oxford type. Printed in red and black. 440 copies. i2mo, deco- 
rated boards, cloth back, uncut. *(90) 

Bibliography of Ralph Waldo Emerson. By G. W. 
Cooke. Boston, 1908. 
Scotch type. 530 copies. Large crown 8vo, cloth, uncut. (91) 

Bibliography of Henry David Thoreau. By F. H. 
Allen. Boston, 1908. 
Scotch type. 530 copies. Large crown 8vo, cloth, uncut. (92) 

Hints for Lovers. By Arnold Haultain. Boston, 1909. 

Caslon type. Decorative title and headings in old red. 540 copies. 
i2mo, boards, paper label, uncut. *(93) 

Geofroy Tory. By Auguste Bernard. Translated by 
George B. Ives. [Boston] 1909. 

Riverside Caslon type. With reproductions. 370 copies. Imperial 
8vo, boards, buckram back, uncut. *(94) 


The Ancestry of Abraham Lincoln. By J. H. Lea and 
J. R. Hutchinson. Boston, 1909. 

Caslon type. Title-page in red and black. Illustrated. 1030 copies. 
4to, boards, cloth back, uncut. (95) 

Happy Ending. [By] Louise Imogen Guiney. Boston, 1909. 

Caslon type. Frontispiece. 500 copies on large paper. 8vo, boards, 
uncut. (96) 

1872 : Letters Describing the Great Boston Fire. 
Edited by Harold Murdock. Boston, 1909. 

Scotch type. Reproductions of old prints. 500 copies. Large crown 
8vo. *(97) 

IV Sonnets : Wordsworth. [Cambridge] 1909. 

Oxford type. Brochure. 143 copies printed by B. R. Square 8vo. 


The Advertisements of the Spectator. By Lawrence 
Lewis. Boston, 1909. 

Caslon type. Folding facsimile. 8vo, boards, cloth back, paper label, 
uncut. (99) 

Poems. By Winthrop M. Praed. Boston, 1909. 

Scotch type. With portrait. 440 copies. i6mo, boards, parchment 
back, gilt top, uncut. *(ioo) 

The Compleat Angler. By Izaak Walton. [Cambridge] 

Riverside Caslon type. Vignette on title, with decorative border; 
music, and woodcuts of fish. 440 copies. i6mo, boards, paper label, 
uncut. *(ioi) 

A Poet IN Exile. Early Letters of John Hay. Edited by 
Caroline Ticknor. Boston, 1910. 

Oxford type. With portrait and facsimile. 440 copies. 8vo, boards, 
paper label, uncut. *(i02) 

LXXV Sonnets. William Wordsworth. [Cambridge] 19 10. 

Oxford type. Woodcut on title. 440 copies. Square 8vo, boards, 
linen back, uncut. *(i03) 

Boston Common. By M. A. DeWolfe Howe. Cambridge, 
Scotch type. Illustrated. 550 copies. Tall 4to, decorated cloth. *(i04) 

Pan's Pipes. R. L. S. [Boston] 1910. 

Oxford type. Decorations by B. R. 550 copies, i6mo, boards, uncut. 



Records of a Lifelong Friendship : R. W. Emerson 
AND W. H. FuRNEss. Boston, 1910. 

Oxford type. Illustrations. 780 copies. Square 8vo, boards, uncut. 


King Arthur and the Table Round. With an account 
of Arthurian Romance and notes by W. W. Newell. 
Boston, 191 1. 

Old Style type. Titles in red and black. 2 vols. Svo, half parchment, 
gilt tops. (107) 

An Exhibition of Prints : Maps : Broadsides : News- 
papers : Autographs at The Club of Odd Volumes. 
Boston, 1 91 1. 
Riverside Caslon type. Pamphlet. 100 copies. i6mo, uncut. *(io8) 

Exhibition of First Editions of XVIII Century Books 
at The Club of Odd Volumes. Boston, 191 1. 
Riverside Caslon type. Pamphlet. 100 copies. i6mo, uncut. *(i09) 

The Club of Odd Volumes. Year Book for 191 i. 
Boston, 191 1. [Reissued 191 2.] 

Oxford type. Vignette on title. 80 copies. i6mo, boards, paper label, 
uncut. *(iio) 

The Constitution of the United States of America 

[Boston, 191 1.3 

Montaigne type. 440 copies. Imperial Svo, boards, uncut. *(iii) 
Ecclesiastes or the Preacher. Boston, 191 1. 

Riverside Caslon type. Printed in red and black, with Tory borders 
on every page. 335 copies. Small Svo, decorated boards, uncut. 


Notes from a Country Library. By Harold Murdock, 
Boston, 191 1. 

Brimmer Italic type. Vignette illustration. Sa copies printed for The 
Club of Odd Volumes. Svo, decorated boards, cloth back, uncut. 

Mr. Walpole's Friends in Boston. [By John Cotton 
Dana.] [Newark] 191 1. 

Old Style Italic type, ij copies printed for the author. Brochure. 
Svo, uncut. *(ii4) 

Les Points de France. [By E. Lefebure. Translated by 
Margaret Taylor Johnston. New York, The Metro- 
politan Museum of Art, 191 2.] 
French Didot type. Illustrations. Brochure. 1000 copies. Svo. *(ii5) 


Franklin and His Press at Passy. By Luther S. Living- 
ston. New York, The Grolier Club, 1914. 
Fry, Brimmer, and Oxford types. With facsimiles. 303 copies (3 on 
large paper). 8vo, marbled boards, cloth back, uncut. *(ii6) 

Mr. Ryan's Collection. Compiled by Gertrude Barr. 

New York, 19 14. 

Oxford type. Frontispiece engraved by Sidney L. Smith. 250 copies 
printed for Thomas F, Ryan. i6mo, decorated boards, uncut. *(ii7) 

A Political Romance. By Laurence Sterne. [1759] An 
Exact Reprint of the First Edition. With an Introduc- 
tion by Wilbur L. Cross. Boston, 1914. 
Caslon and other types. Rubricated title-page. 125 copies printed 
for The Club of Odd Volumes. 8vo, boards, linen back, paper label, 
uncut. *(ii8) 


A Record. [Testimonial to Theodore Marburg. Balti- 
more, 1912.] 
Caslon type. Imperial 8 vo. (119) 

William Byrd, Esq. : Accounts as Solicitor General of the 
Colonies . . . and Letters writ to Facetia by Veramour. 
[New York] 19 13. 

Caslon type. Hand-ruled. 17 copies printed for Thomas F. Ryan. 
Royal 8vo, decorated boards, uncut. *(i2o) 

Dinner to Hon. William Howard Taft and Dr. Wil- 
liam Henry Welch. Given by Mr. WiUiam A. Mar- 
burg. Baltimore, 1914. 

Bodoni Italic type. With portraits and borders on every page. 70 
copies. Brochure. 8vo, decorated boards, uncut. *(i2i) 


Montague J Mass. 

Luther S. Livingston. 1864-1914. [By G. P. Winship] 
Cambridge, 191 5. 

Caslon type. With portrait. 200 copies. Privately reprinted from 
the Papers of the Bibliographical Society of America. 8vo, boards, 
cloth back, uncut. *(i22) 


An Account of Descriptive Catalogues of Straw- 
berry Hill and of Strawberry Hill Sale Cata- 
logues. Together with a Bibliography. By Percival 
Merritt. Boston, 191 5. 

Walpole and Riverside Caslon types. With plates and facsimiles. 
75 copies printed for the author. 8vo, marbled boards, linen back, 
uncut. *(i23) 

The Centaur. By Maurice de Guerin. Translated by 
George B. Ives. [Montague] 191 5. 

Centaur type. With headband and initial. 135 copies privately 
printed. Tall 4to, boards, uncut. *(i24) 

Cambridge, Mass. 

Eleven Examples of Recent Typography by Bruce 
Rogers. [New York] 191 5. 

Various types. Separate, in stiff paper covers, from The Printing Art, 
Dec, 1 91 5. Book and title-pages composed by the Riverside, Mon- 
tague, Munder, and Museum presses. 4to. (125) 

Hammersmith, England 

Of the Just Shaping of Letters. By Albrecht Diirer. 
Translated by R. T. Nichol. New York, 1917. 
Centaur type. Decorative title-page and facsimiles. 315 copies on 
paper and 3 on vellum for The Grolier Club. Small folio, boards, 
vellum back, uncut. *(i26) 

Cambridge, England 

Two Brothers : Accounts Rendered. By Alfred W. 
Pollard. London, 19 17. 
Old Style type. Reprint. Brochure. Square i2mo. (127) 

The Common Weal. Six Lectures on Political Philosophy. 
By W. Cunningham. Cambridge, 1917. 
Old Style type. i2mo, boards, cloth back, uncut. (128) 

On Friendship. i6th century verses. [Cambridge] 191 8. 
Caslon Italic type. 150 copies privately printed for A. T. Bartholo- 
mew and Bruce Rogers. Brochure. 8vo, paper label, uncut. *(i29) 


Studies in Literature. First Series. By Sir Arthur 
Quiller-Couch. Cambridge, 191 8. 
Caslon type. Demy 8vo, cloth, uncut. (130) 

Musical Illustrations of History and Literature. 
By Mr. Edward Dent and Miss Gladys Moger. [Lon- 
don] 1918. 
Caslon type. Pamphlet prospectus. i2mo. *(i3i) 

Address at the Unveiling of the Roll of Honour of 
THE Cambridge Tipperary Club. 1916. By M. R. 
James. Cambridge [191 8]. 
Centaur type. Brochure. A small edition in 4to. *(i32) 

ne Same. 

Georgian Old Style type. Brochure. i6mo. 1918. *(i33) 

A Collection of Books about Cats. With Notes by 
Percy L. Babington. Cambridge, 191 8. 
Georgian Old Style type. Title-page in red and black, with border. 
54 copies printed for the editor. 8vo, boards, uncut. *(i34) 

A Journey to the Levant in i 845. By Robert Heywood. 
Cambridge, 19 19. 

Monotype Imprint type. With portraits. 100 copies printed for the 
editor (A. T. Bartholomew). *(i35) 

Henry THE Sixth. By M. R. James. A Reprint of John 
Blacman's Memoir. Cambridge, 1919. 
Caslon type, etc. Demy Svo. (136) 

The Commonplace Book of Elizabeth Lyttleton. By 
Geoffrey Keynes. Privately printed. Cambridge, 1 919. 
Caslon type. Brochure. Svo, uncut. (137) 

A Divine Heptalogy. Compiled by Margaret C. Jen- 
kinson. Privately printed. Cambridge, 1919. 
Monotype Imprint type. Square lamo, paper covers, uncut. *(i38) 

Picture Show. By Siegfried Sassoon. [Cambridge] 191 9. 
Modern type. Border on title, aoo copies printed for the author. 
Square 8vo, boards, uncut. *(i39) 

Spare Your Good. (London, T. Marshe, ? ab. 1555). 
Reprinted from the only known copy with an Intro- 
duction by E. Gordon Duff. Cambridge, 1919. 
Centaur type. Two facsimiles of woodcuts. 250 copies printed. 
Svo, stiff paper covers, uncut. *(i4o) 


Euclid in Greek. By Sir Thomas L. Heath. Cambridge, 
Monotype Old Style and Greek types. Crown 8vo, cloth, uncut. (141) 

The Works of Shakespeare. Edited by Sir Arthur 
Quiller-Couch and John Dover Wilson. The Tempest. 
Cambridge, 1921. 

Monotype Old Style type. Facsimiles. Fcap. 8vo, cloth, uncut (and 
leather), gilt top. (142) 



Mount Vernon, N. Y, 

Twelve Prints by Contemporary American Artists. 
With an introduction by Carl Zigrosser. New York, 


Garamond type. Preliminary pages for a portfolio of prints. 115 

copies for E. Weyhe. Folio. *(i43) 

Paintings of French Interiors. By Walter Gay. 
Edited, with an Introduction and Notes, by A. E. Galla- 
tin. New York, 1920. 

Garamond type. 50 illustrations. 950 copies. Royal 4to, boards, 
linen back. (144) 

The Journal of Madam Knight. With an Introductory 
Note by G. P. Winship. Boston, 1920. 
Garamond type. Title-page in red and black. Map. 525 copies, 
lamo, cloth, uncut. *(i45) 

A Visit from Saint Nicholas. By Clement C. Moore. 
Printed as a holiday remembrance by Bruce Rogers and 
W. E. Rudge. Mount Vernon, 1920. 

Original Old Style Italic type. Illustrations by Florence W. Ivins, 
hand-colored. 8vo, decorated boards, uncut. *(i46) 

Several Reasons. By Increase Mather. Sentiments 
ON THE Small Pox Inoculated. By Cotton Mather. 
Cleveland, 1921. 

Garamond type. Rubricated title. 95 copies privately printed for 
William Gwinn Mather. i2mo, boards, linen back, uncut. *(i47) 

The Red Path and The Wounded Bird. By John Free- 
man. Cambridge, 1921. 

Monotype Caslon type. 425 copies (50 on hand-made paper) for 
Dunster House Bookshop. 8vo, boards, linen back, uncut. *(i48) 


'Printing and the Renaissance: A Paper Read before 
the Fortnightly Club of Rochester by John Rothwell 
Slater. New York, 1921. 

Monotype Caslon type. 5 reproductions of printers' marks. 600 
copies (100 on hand-made paper). 8vo, boards, uncut. *(i49) 

A Selection of Books from the Library of the late 
John Williams White. Cambridge, 1921. 

Garamondj Caslon, and Linotype Greek types. Pamphlet. Printed 
in red and black. 1000 copies for Dunster House Bookshop. 8vo, 
uncut. *(i5o) 

Night and Moonlight. By Henry D. Thoreau. New- 
York, 1 92 1. 

Garamond type. With a woodcut in two colors by Florence W. Ivins. 
400 copies (18 on Japanese paper) for Hubert R. Brown. i6mo, 
boards, uncut. *(i5i) 

Modern Fine Printing in America. An Essay by A. E. 
Gallatin. New York, 1921. 
Garamond type. Small 4to, boards, uncut. (152) 

The Fiftieth Anniversary of Dr. Max Landsberg as 
Rabbi of Congregation Berith Kodesh. Rochester, 
N.Y., 1921. 

Bodoni type within typographic borders. One copy on vellum and a 
few on paper. 4to, marbled boards, cloth back, uncut. *(i53) 

Considerations on Engraving. By Timothy Cole. 
New York, 1921. 

Caslon type. Title in red and black. Woodcut by the author. Tall 
8vo, boards, uncut. *(iS4) 

A Visit from St. Nicholas. By Clement C. Moore. 
Boston, 1921. 

Similar to No. 146 but with new woodcuts by Mrs. Ivins printed in 
colors. 5000 copies for the Atlantic Monthly Press. i^SS) 

A Noble Fragment. Being a Leaf of the Gutenberg Bible. 
With a Bibliographical Essay by A. Edward Newton. 
New York, 1921. 

Garamond type. Title and introductory pages in red and black to 
accompany an original leaf of the Bible. 600 copies for Gabriel Wells. 
4to. (156) 

Priapus and the Pool. By Conrad Aiken. Cambridge, 

Linotype Original Old Style type. 425 copies (50 on hand-made paper 
signed by the author) for Dunster House Bookshop. Square 8vo, 
boards, uncut. *(i57) 


-American Water-Colourists. By A. E. Gallatin. New 
York, 1922. 

Bodoni type. 30 reproductions. 950 copies for E. P. Button & Co. 
Imperial 8vo, boards, buckram back, uncut. *(i58) 

A Project of Universal and Perpetual Peace. By 
Pierre-Andre Gargaz. Reprinted with an English Ver- 
sion by George Simpson Eddy. New York, 1922. 

Monotype Caslon type. Rubricated title, decorations and facsimiles. 
1250 copies for Mr. Eddy. Narrow lamo, boards, buckram back, 
uncut. *(i59) 

A Plain Letter to the Lord Chancellor on the Infant 
Custody Bill. By the Hon. Mrs. Norton. With an 
Introductory Note by Frank Altschul. New York, 1922. 
Monotype Scotch type. Portrait and facsimile. 150 copies for Mr. 
Altschul. Royal 8vo, boards, cloth back, paper label, uncut. *(i6o) 

KiDD : A Moral Opuscule. The Verse by Richard J. 
Walsh. Illustrations by George Illian. New York, 1922. 

Goudy New Style type. Illustrations colored by hand. 1000 copies. 
Square Svo, glazed boards, uncut. *(i6i) 

The Bride of Huitzil. By Hervey Allen. New York, 

Monotype Caslon type. 350 copies in red and black for James F. 
Drake. Svo, decorated boards, cloth back, uncut. *(i62) 

The Relation of Art to Nature. By John W. Beatty. 
New York, 1922. 
Linotype Original Old Style type. 950 copies. Svo, cloth, uncut. 


Abbott H. Thayer Memorial Exhibition. With an In- 
troduction by Royal Cortissoz. New York, 1922. 
Monotype Scotch type. Illustrated. looo copies for the Metropolitan 
Museum of Art. Svo (a few on large paper). (164) 

Ethan Frome. By Edith Wharton. New York, 1922. 

Monotype Caslon type. 2000 copies printed for Charles Scribner's 
Sons. Svo, cloth, uncut. (165) 

Monotype. Vol. 9, No. 2. [Various Papers on Typogra- 
phy]. Philadelphia, 1922. 

Monotype Scotch type, and typographic decorations. Brochure. 
20,000 copies for the Monotype Company. 4to. *(i66) 


Arthur Rackham. A List of Books Illustrated by Him. 
Compiled by Frederick Coykendall. With an Intro- 
ductory Note by Martin Birnbaum. [New York] 1922. 
Oxford type. Portrait frontispiece and two reproductions. 175 
copies, privately printed. 8vo, boards, uncut. *(i67) 

JocELiN OF Brakelond. From 'Past and Present.' By 
Thomas Carlyle. New York, 1923. 

Monotype Caslon type. Rubricated title-page. 510 copies. i2mo, 
cloth, uncut. *(i68) 

The Presbyterian Child. [By] Joseph Hergesheimer. 
New York, 1923. 

Monotype Scotch type. 950 copies for Alfred A. Knopf. 8vo, deco- 
rated boards, cloth back, uncut. *(i69) 

The Pierrot of the Minute. By Ernest Dowson. New 
York, 1923. 

Deberny type and Fournier vignettes. 300 copies printed in red 
and black for The Grolier Club. i6mo, boards, uncut *(i7o) 

Dream Children. By Charles Lamb. New York, 1923. 

Linotype Original Old Style type. Woodcut in colors by Florence W. 
Ivins. 500 copies printed for Frank Altschul. 8vo, paper. *(i7i) 

"f Ralph Herne. By W. H. Hudson. New York, 1923. 

Monotype Caslon type and ornaments. 950 copies printed for A. A. 
Knopf. 8vo, boards, cloth back, uncut. *(i72) 

Monotype. Vol. 9, No. 6. Private Presses in England, 
etc. Philadelphia, 1923. "' ' ' ' y-^o^^J^^y^^ 

Garamont type, with typographic decorations. Text and rubricated 
title within ruled margins. Pamphlet. 20,000 copies printed for the 
Monotype Company. Royal 8 vo, uncut. *(i73) 

The Ballad of William Sycamore. By Stephen Vincent 
Benet. New York, 1923. 

Original Old Style Italic type, within typographic borders. 400 copies 
printed for the Brick Row Book Shop. Small i6mo, boards, uncut. 

The Christmas Dinner. From "The Sketch Book" by 
Washington Irving. New York, 1923. 

Linotype Original Old Style type. Printed in red and black. 2200 
copies. Square i6mo, boards, uncut. *(i75) 

New Year's Eve. By Charles Lamb. New York, 1923. 

Monotype Scotch type and decorations. 1000 copies. 8vo, decorated 
boards, uncut. *(i76) 


Christmas Epithalamium. [By Hervey Allen] n. p. 1923. 

Garamond Italic type with decorations in red. 20 copies printed for 
Mr. and Mrs. W. Van R. Whitall. Square i2mo, wrappers. *(i77) 

The Construction of Roman Letters. By Albrecht 
Diirer. Cambridge, 1924. 

Printer's note in Centaur type and reproductions within red rules. 
350 copies printed for Dunster House Bookshop. i6mo, boards, 
uncut. *(i78) 

George Meredith 1909. By J. M. Barrie. New York, 

Garamond type. 500 copies, i6mo, boards, uncut. *(x79) 

A Guide to an Exhibition of the Arts of the Book. By 
W. M. Ivins, Jr. New York, 1924. 

Caslon and Garamont types. Illustrations. 1000 copies printed for 
the Metropolitan Museum of Art. 8 vo, paper covers. (180) 

Edmund Burke. By John Morley. New York, 1924. 
Caslon type. 780 copies printed for A. A. Knopf. 8vo, cloth, uncut. 

Golden Years. A Sonnet Sequence, n. p. 1924. 

Caslon type. Fournier ornaments in red. 20 copies, printed privately 
for William R. Castle, Jr. i6mo, decorated boards, uncut. *(i82) 

The Symbol and the Saint. By Eugene Field. New 
York [1924]. 

Deberny type with typographic decorations. Three small, privately 
printed editions and 300 copies for sale. i6mo, decorated boards, 
uncut. *(i83) 

Italian Old Style. A New Type designed by Frederic 
W. Goudy. Philadelphia, 1924. 

ItalianOldStyle type and typographic decorations. Pamphlet. 22,500 
copies (more or less) printed for the Monotype Company. *(i84) 

Venetian Printers. A Conversarion on the Fourth Day 
of the Bibliographical Decameron of Thomas Frognall 
Dibdin. (^Text of No. 184 with additional notes by 
W. M. Ivins, Jr., and other alterations.] 1924. 

Italian Old Style type and typographic decorations. 223 copies, 
printed privately for Bruce Rogers. *(i85) 

Memorial Exhibition of the Works of Julian Alden 
Weir. With an Introduction by William A. Coffin. 
New York, 1924. 

Monotype Garamont type. Illustrations. Brochure. 1000 copies for 
the Metropolitan Museum of Art. 8vo. *(i86) 


The Star Song. A Carroll to the King. By R. Herrick. 
[Mount Vernon] 1924. 

Wren Italic type and Fournier ornaments. Text and decorated title 
within ruled margins in red. 750 copies. lamo, boards, uncut. *(i87) 

Men of Letters of the British Isles. Portrait Me- 
dallions by Theodore Spicer-Simson, with Critical Es- 
says by Stuart P. Sherman. New York, 1924. 

Garamont type. 520 copies on Rives and 10 copies on hand-made 
paper. Imperial 8 vo, boards, holland back, uncut. (188) 

Original Manuscripts and Drawings of English Au- 
thors. From the Pierpont Morgan Library. On exhi- 
bition at the New York Public Library. New York, 

Linotype Original Old Style type. 5000 copies (a few on large paper, 
in boards) for the Pierpont Morgan Library. i6mo, paper covers. 
Also a second edition (a few on large paper). *(i89) 

Joseph Conrad : The Man. By Elbridge L.Adams, [and] 
A Burial in Kent. By John W. Zelie. Together with 
some Bibliographical Notes. New York, 1925. 

Monotype Scotch type, with typographical decorations and frontis- 
piece portrait. 485 copies. 8vo, marbled boards, cloth back, gilt top. 


Cambridge^ Mass. 

Memoirs of the Harvard Dead. By M. A. DeWolfe 
Howe [and others]. Cambridge, 1920-21-22-23-24. 
Monotype Scotch type. Portraits. 5 vols. 8vo, cloth, gilt tops. (191) 

John Wentworth. First Royal Governor of New Hamp- 
shire. By Lawrence Mayo. Cambridge, 1921. 
Caslon type. Portrait. 500 copies. Small 4to, boards, cloth back, 
uncut. *(i92) 

The Cemetery at Souain. Cambridge, 1921. 

John Baskerville's type. Illustrations. 100 copies, privately printed. 
Folio, boards, cloth back, uncut. *(i93) 

Wordsworth in a New Light. By £mile Legouis. Cam- 
bridge, 1923. 

Monotype Scotch type and decorations. 750 copies (100 on hand- 
made paper). 8vo, cloth and boards, uncut. *(i94) 


Modern Color. By Carl Gordon Cutler and Stephen C. 
Pepper. Cambridge, 1923. 

Monotype Caslon type. Decorations by W. A. Dwiggins. Square 
i2mo, decorated boards, colored top. (i95) 

Songs and Ballads of the Maine Lumberjacks, Col- 
lected by Roland P. Gray. Cambridge, 1924. 

Monotype Caslon type. 8vo, decorated boards, cloth back, colored 
top. (196) 

The Pilgrimage of Robert Langton. Transcribed 
with an Introduction and Notes by E. M. Blackie. 
Cambridge, 1924. 

Monotype Caslon and Black-letter types. Facsimile woodcuts and 
ornaments. 755 copies. 8vo, boards, linen back, uncut. *(i97) 

A Most Friendly Farewell to Sir Francis Drake. By 
Henry Robarts. Transcribed with a short Introduc- 
tion by E. M. Blackie. Cambridge, 1924. 
Caslon, Cloister Italic and Black-letter types. Facsimile woodcuts. 
755 copies. 8vo, boards, linen back. *(i98) 

The Portraits of Increase Mather. With some notes 
on Thomas Johnson, an English Mezzotinter, by 
Kenneth B. Murdock. Cleveland, 1924. 

John Baskerville's type. Colored frontispiece and other portraits 
250 copies privately printed for William Gwinn Mather. 4to, marbled 
boards, morocco back, gilt top. *(i99) 

Piozzi Marginalia. By Percival Merritt. Cambridge, 

Monotype Scotch type. 750 copies (75 on hand-made paper) 8vo, 
boards, cloth back, uncut. *(20o) 

-4- jXkxAxi--, 



the references are to the serial numbers 

A. E. (G. W. Russell), 3. 
Adams, E. L., 190. 
Aiken, C, 157. 
Aldrich, T. B., 41, 70. 
Alexander, Francesca, 8. 
Allen, H., 162, 177. 
Altschul, F., editor, 160. 
Ames, A., editor, 25. 
Babington, p. L., editor, 134. 
Bacon, Mabel, editor, 84. 
Baker, G. P., editor, 74. 
Barr, Gertrude, compiler, 

Barrie, Sir J. M., 179. 
Bartholemew, a. T., editor, 

129, 135- 
Bartlett, T. H., 73. 
Bates, Arlo, 9. 
Beatty, J. W., 163. 
Benet, S. v., 174. 
Bernard, A., 94. 
BiRNBAUM, M., editor, 167. 
Blackie, E. M., editor, 197, 

Blaeman, J., 136. 
Boccaccio, G., 51. 
Browne, Nina. E., compiler, 

Browne, Sir T., 72. 
Bryant, W. C, i. 
Butler, Isabel, translator, 71. 
Byrd, W., 120. 
Calverley, C. S., translator, 

Carlyle, T., 168. 
Carryl, G. W., 42. 

Castle, W. R., Jr., 182. 
Cathcart, H., compiler, 61. 
Cavendish, G., 53. 
Chaucer, G., 44. 
Club of Odd Volumes, 108, 

109, no. 
Coffin, W. A., editor, 186. 
Cole, T., 154. 
Constitution of the United 

States, hi. 
Cooke, G. W., compiler, dd, 91. 
CoRTissoz, R., 81. 

, editor, 164. 

Coykendall, F., compiler, 167. 
Crowninshield, Mary B., d^^, 
Cunningham, W., 128. 
Cutler, C. G., 195. 
Dalton, C, 45. 
Dana, J. C, 114. 
Defoe, D., 89. 
Dent, E., 131. 
Dibdin, T. F., 185. 
Donne, J., 58. 
DowsoN, E., 170, 
DiJRER, A., 126, 178. 
Duff, F. G., editor, 140. 
Dunbar, W., 48. 
DwiGGiNS, W. A., 195. 


Eddy, G. S., translator, 159. 
Emerson, R. W., ^^S- 
Emerson, R. W., and Furness, 

W. H., 106. 
Euclid, 141. 

Evelyn, J., translator, "yja. 
Field, E., 183. 


Fielding, H., 28. 
Fitzgerald, E., translator, 13. 
Florio, J., translator, 23' 
Freeman, J., 148. 
Gallatin, A. E., 152, 158. 

, editor, 144. 

Gargaz, P.-A., 159. 
Garrick, D., 74. 
Gay, Walter, 144. 
[GouDY, F. W.], 184. 
Gray, R. P., 196. 
Greene, Rebecca A., 64. 
Gruelle, R. B., 4. 
guerin, m. de, 124. 
Guiney, Louise L, 96. 
Hamilton, A., 46. 
Haultain, a., 90, 93. 
Hawthorne, N., 47, 60, 61. 
Hay, John, 34, 102. 
Hearn, L., 43. 

Heath, Sir T. L., editor, 141. 
Herbert, G., 59. 
Hergesheimer, J., 169. 
Herrick, R., 187. 
Heywood, R., 135. 
Higginson, F., 86. 
Higginson, T. W., translator, 

Holland, P., 54. 
Holmes, O. W., 85. 
Howe, M. A. DeW., 104, 191. 
Howell, J., 75. 
HowELLs, W. D., 16, 82. 
Hudson, W. H., 172. 
Hutchinson, J. R., 95. 
Ilian, G., 161. 
Irving, W., 175. 
Ives, G. B., compiler, 85. 

, translator, 94, 124. 

IviNS, Florence W., 146, 151, 

IviNS, W. M., Jr., 180. 

viNs, W. M., Jr., editor, 185. 

AMES, H., II, 52, 56, 65. 
AMES, M. R., 132, 133, 136, 

efferson, T., 49. 
ENKINSON, Margaret C, 

compiler, 138. 
Johnston, Margaret T., 

translator, 115. 
Keynes, G., 137. 
Knight, Madam, 145. 
Lamb, Charles, 171, 176. 
[Landsberg, M.], 153. 
Langton, R., 197. 
Lea, J. H., 95. 
Leeds, H. C, 15. 
Lefebure, E., 115. 
Legouis, E., 194. 
Leighton, W., and Barrett, 

E., translators, 39. 
Lewis, L., 99. 
Livingston, L. S., 116. 
Longfellow, H. W., 76, 77. 
Lowell, J. R., 26, 31, 66. 
Lowell, Maria, 78. 
Mackail, J. W., translator, 50. 

MaISTRE, X. DE, 20. 

[Marburg, T.], 119. 
[Marburg, W. A.l, 121. 
Marshe, T., 140. 
Mather, C, 147. 
Mather, I., 147. 
Mayo, L., 192. 
Merritt, p., 83, 123, 200. 
Michelangelo, 12. 
MoGER, Gladys, 131. 
[Monotype], 166, 173, 184. 
Montaigne, M. de, 23. 
Moody, W. V., 21. 
Moore, C. C, 146, 155. 
More, P. E., 10. 
Morgan Library, 189. 
Morley, J., 181. 


MuRDOcK, H., 79, 97, 113. 
MuRDocK, K. B., 199. 
Naudeus, G., 26- 
Newell, W. W., translator, 12. 

, editor, 107. 

Newton, A. E., 156. 
NiCHOL, R. T., translator, 126. 
Norton, Mrs. Caroline, 160. 
Norton, C, E., 77 

, editor, 58. 

Omar Khayyam, 13. 
Page, C. H., translator, 37. 
Palmer, G. H., 59. 
Pennell, Elizabeth R., 38. 
Pepper, S. C, 195. 
Perry, B., 80, 88. 
Petrarch, F., 40. 
Phillips, L., compiler, 6^. 
Pickard, S. T., editor, 14. 
Plato, 5, 87. 
Plutarch, 54. 
Pollard, A. W., 127. 
Praed, W. M., 100. 
Quarles, p., ^^. 
quiller-couch, sir a., i30. 

, editor, I42. 

Rackham, a., 167. 
Raleigh, Sir W., 27. 
RoBARTs, H., 198. 
[Rogers, B.], 125, 129. 
ronsard, p. de, 37. 
Rood, Lily L., 6. 
Saint-Pierre, B. de, 68. 
Sakurai, T., 84. 
Sandys, A., editor, 24. 
Sassoon, S., 139. 
Schurz, C, 73. 

Senancour, E. p. de, 22. 

Shakespeare, W., I42. 
Shaw, R. G., Monument to, 7. 
Shelley, P. B., translator, 5, 

Sherman, S. P., 188. 
Sidney, Sir P., 49. 
Sill, E. R., 29. 
Slater, J. R., 149. 
Souain Cemetery at, 193. 
SouTHEY, R., 30. 
Spenser, E., 32. 
Spicer-Simson, T., 188. 
Stedman, E. C, 17, 18. 
Steele, Mary E., 2. 
Sterne, L., 57, 118. 
S[tevenson], R. L., 105. 
Thackeray, W. M., 23. 
Theocritus, 69. 
Thoreau, H. D., 19, 92, 151. 
TicKNOR, Caroline, editor, 

Virgil, 50. 

Walpole, H., 1 14, 123. 
Walsh, R. J., 161. 
Walton, I., loi. 
Wharton, Edith, 165. 
White, J. W., Library of, 150. 
Whittier, J. G., 80. 
Wicksteed, p. H., translator, 

Wilson, J. D., editor, 142. 
WiNSHip, G. P., 122. 

, editor, 62, 145. 

Wordsworth, W., 98, 103. 
Zelie, J. W., 190. 
ZiGROssER, C, editor, 143. 



A punning announcement, with an old woodcut. 


Club of Odd Volumes. 

'The Compleat Angler.' 


Club of Odd Volumes. 

Stevenson's * Pan's Pipes.* 

Club of Odd Volumes. 

Club of Odd Volumes. 


* Piozzi Marginalia.' 


'Joseph Conrad, the Man.' With typographic ornaments. 


The first three were made for Houghton Mifflin Company; the 
fourth for the MetropoHtan Museum of Art and for private 
use; the fifth is owned by the Harvard University Press. 


Experimental initials; first set in typographic ornaments and 
then reproduced in reverse. 


Experiments with Egyptian hieroglyphics at the University 
Press, Cambridge, England, 


Typographic borders and ornaments. 


Composed with typographic material. 


tE^fje Enickertiocker (§roup 



An these days when New York has become a 
metropolitan city, with a population of four 
million souls, and the old city has shrunk po- 
litically into the borough of Manhattan, it is 
not easy to recall the obliterated outlines of the 
town which was satirized by the vivacious 
young men who wrote the ' Salmagundi Pa- 
pers.' Unlike Rome, which has been rebuilt 


»M M>jHi i hni ii i iii rrni ^ iiiijiii iimm iIIIHM mmir:^^^ 

y ofy e C lubbe of Oddef 

Wc'^?-;j^i^^^^M:.yohsxrief : held stttey I 
"^;-::v;^;yV.:.>:;;-y:"-:> Clubbe 

^>^- ::^Av v^v: :ii"'A- '• ?E> o/ton, DecT 21/?, i ai o i 

V V.-. .- * • .» 

i - ■".<, 








Have made so ill use 
of your former fa- 
vors^ as by them to be 
encouraged to intreat 
that they may be enlarged to 
the patronage and protection 
of this Book; and I have put 
on a modest confidence^ that I 

1 HE world in which we live has 
been variously said and sung by 
the most ingenious poets and 
philosophers : these reducing it 
to formulae and chemical ingre- 
dients, those striking the lyre in 
high-sounding measures for the 
handiwork of God. What expe- 
rience supplies is of a mingled 





C(*jMr. T. Jefferson CooUdge, Jr. invites the mem- 
bers of the Club to visit him at his home at 
(JMagnolia on Saturday, June ii, 1910. 

iC(*JMembers who can accept will leave the T^th 
Terminal Station on the ^Flying Fisherman ' at 
1 2.25 P.M. Regular tickets should be purchased 
and passes for this private train will be provided 
by <*yidr, Coolidge through the Clerk pro tem, 

C^Retum to Boston will be made on the train leav- 
ing <zJMagnolia at 4f.i5 P.M. 

iC Should the weather be stormy the trip will be post- 
poned to another day. The train conductor will 
have notice of any postponement. 

John Woodbury ., Clerk pro tem 





Ihe Executive Committee announces the 
publication of this volume which has been 
printed for the Club by Bruce Rogers at 
The ^l^erside *TresSy Cambridge. 

This account of a library with its treas- 
ures of the eighteenth century, contempo- 
raneous with the old Mew Hampshire 



Slesiter 1l|>ncf) 3^io}}i 

Edited by Percival Merritt 




X. ^. 

^1 M 





VER since I came upon "The Nigger of the 
Narcissus" in tranquil ante-bellum days I had 
been under the spell of Conrad's art. "Typhoon," 
"Lord Jim" and "Chance" were read with in- 
creasing beguilement, and then "Nostromo," that 
most astonishing creation of the imagination. One 
felt that here, indeed, was a magician who could 
conjure up the very spirit of some Eastern river 
and make one smell the rank stifling jungle or 
feel the motion of the ship as it drives before the 
hurricane. Nothing quite like these stories was 
to be found in the entire range of English litera- 
ture. One was prepared to agree with Galsworthy 
that such writing "is probably the only writing 
of the last twelve years [he was referring to 1896- 
1908] that will enrich the English language to any 
great extent." But what sort of man, one won- 


cut only in sixteen-point size for the use of 
the pubh'shers, Houghton Mifflin Company 
at The Riverside Press in Cambridge, Mass, 


and is a modification of Caslon Old Face. It is cast on 
the Monotype at The Riverside Press and employed 
at that press for the printing of some of their books. 


a reproduction of a late eighteenth century face 
of which the origin is not yet accurately known. 
It is transitional in style, like John Baskerville's. 


zvhich has been frequently used at The Riverside Press, 
When it zvas reproduced several special swash capitals 
were added to it, viz : ^T> £ g^JMlS^&%^^ 

which follows the proportions of Jenson's roman. 
It is cast only for The Metropolitan Museum of 
Art, New York, and for private use by its designer. 


cast froiTL the matrices which are now owned in 
Paris, especially for the use of The Harvard 
University Press, Cambridge, Massachusetts. 


is more elegant and characteristic than the roman. 
The letters G,J, X, Q^ T, Tand Xjare unmistakeable. 


♦ ■«— A^ — >■ 



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